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TEACHER'S  MANUAL 

VOLUME  I 
FOR  FIRST.  SECOND,  AND  THIRD  GRADES 


WITH    ACCOMPANIMENTS   FOR    BOOK   ONE  AND  ADDITIONAL 
ROTE    SONGS.    FOLK    DANCES   AND    SINGING   GAMES. 


The  Progressive  Music  Series 


BY 

HORATIO  PARKER 

Dean  of  the  Department  of  Music,  Yale  University 

OSBOURNE  McCONATHY 

Director  of  the  Department  of  School  Music,  Northwestern  University 

EDWARD  BAILEY  BIRGE 

Director  of  Music.  Public  Schools,  Indianapolis,  Indiana 

W.  OTTO  MIESSNER 

Director  of  the  Department  of  Music,  State  Normal  School,  Milwaukee,  Wisconsin 


VOL. 


CALIFORNIA  STATE  SERIES 


California  Statb  Printing  Department 
Prank  j.  smith.  Superintendent 

NTO 


Th's  W>lamc  contains  much  original  matter  which  is  covered  by  the 
ht  of  the  book  and  must  not  be  used  without  special  permission 


.  by  The  People  of  the  State  of  California. 


Copyright,  1915,  1916,  by  Silver,  Buedett  axd  Company 


v9 


.5 

PREFACE 

The  Progressive  Music  Series  aims  to  realize  two  fundamental  ideals: 
first,  to  assemble  from  all  available  sources  the  best  music  for  school  pur- 
poses; second,  to  organize  this  material  into  a  plan  of  music  instruction 
based  upon  approved  principles  of  modern  educational  psychology.  The 
editors  and  publishers  have  also  taken  advantage  of  all  that  present-day 

;?        science  has  contributed  to  the  art  of  book  making. 

The  music  material  comprises  the  best  that  could  be  found  in  the  libraries 
of  America  and  Europe;  original  songs  written  by  many  of  the  foremost  liv- 
ing composers;  and  characteristic  folk  songs,  many  of  which  were  obtained 
from  sources  hitherto  unavailable.  In  selecting  the  music  for  the  series,  the 
first  concern  of  the  editors  was  to  assemble  only  songs  of  unquestioned  merit 
from  the  standpoint  of  real  musical  worth.     These  approved  songs,  whether 

<w  original  or  otherwise,  were  then  classified  with  reference  to  their  technical 
features  and  assigned  to  their  appropriate  places  in  the  course.  This  plan 
assures  that  all  the  material  of  the  series  —  whether  illustrating  a  technical 
problem  or  presented  for  recreational  singing  —  comprises  only  songs  of  un- 

g>       questioned  cultural  value. 

*"  In  the  case  of  original  contributions,  the  primary  object  was  to  obtain  an 

unrestrained  expression  of  the  composer's  individuality.  Genuine  interest  in 
£=  the  series  and  complete  cooperation  on  the  part  of  the  composer  were  se- 
cured through  personal  interviews.  As  a  result  the  series  is  able  to  offer  a 
large  number  of  beautiful  and  original  songs  by  eminent  composers  —  songs 
which  represent  the  composer  at  his  best  and  give  free  expression  to  his  indi- 
vidual style  and  manner. 

-  The  pedagogical  plan  of  the  course  is  the  result  of  many  years  of  practical 
q  classroom  experience.  It  takes  into  careful  consideration  every  element  which 
J-  has  contributed  to  the  remarkable  advance  in  public-school  music  inHhis 
Z  country.  Every  step  advocated  is  in  thorough  accord  with  the  conclusions 
c-     of  the  leading  authorities  on  child  study  and  educational  psychology.1 

~  Teacher's  Manual,  Volume  I,  offers  a  thoroughly  organized  plan  of  music 

-  instruction  with  directions  and  outlines  of  the  work  in  the  first,  second*  and 
K      third  grades:  it  may  therefore  be  called  a  manual  for  the  Sensory  Period* 

It  also  includes  a  large  number  of  rote  songs  in  addition  to  those  which  appear 
in  Book  One,  a  group  of  folk  dances  (with  directions  for  teaching  them),  as 
well  as  accompaniments  for  most  of  the  songs  in  Book  One.  A  simple 
system  of  cross  references  facilitates  the  use  of  the  Manual  in  con- 
nection with  Book  One,  and  the  index  of  songs  in  the  Manual  gives 
the  page  references  for  both  books. 

1  See  page  7,  where  a  list  of  important  works  on  educational  psychology  is  given. 

2  See  Introduction,  oaee  3. 


244H^:> 


PREFACE 

fcOneand  Teacher's  Manual.  Volume  I.  provide  all  that  is  necessary 
in  material  and  method  for  the  music  instruction  of  children  in  the  first 

les. 

Manual  is  in  do  sense  intended  to  supplant  the  work  oJ  the 

....  but  is  designed  to  relieve  him  of  the  necessity  of  giving  technical 

i  of  spending  a  large  proportion  of  his  time  in  plan- 

hanical  details  of  music  instruction.    Thus  relieved,  he  may  de- 

,rts  to  the  artistic  and  inspirational  side  of  music 

The  study  of  the  monthly  out  lines  will  show  that  there  is  provision  for 
ample  drill  in  each  succi  p-    This  drill  is  based  upon  the  song  ma- 

..  definite,  and  progressive.  Each  recurrence  of  a  song; 
in  the  outline  is  for  a  difien  nt  purpose;  new  beauties  are  revealed,  new  ideas 
are  ,  I,  ,„•  new  viewpoints  are  disclosed.    These  repetitions  are  neces- 

if  the  child's  s<  naory  contact  with  music  is  to  be  sufficiently  definite  and 
complete  to  insure  him  the  basal  concepts  upon  which  to  build  his  musical 
education. 

The  material  for  the  fourth,  fifth,  sixth,  and  seventh  grades  (the  Associa- 
/'.  iod1)  is  given  in  Books  Two  and  Three  and  Teacher's  Manuals, 
Volumes  II  and  III.  The  Manual-  contain  outlines  and  directions  for  these 
grades,  as  well  as  accompaniments  for  most  of  the  songs  in  Books  Two  and 
Three:  they  may  therefore  be  considered  manuals  for  the  Associative  Period. 
:1  acknowledgment  is  due  to  Miss  Grace  Barr  and  Miss  Mabelle 
Glenn  for  their  aid  in  the  preparation  of  the  folk  dances  and  singing  games 
in  tin-  Manual. 


Sec  Introduction,  page  3. 


ACKNOWLEDGMENTS 

The  courtesy  of  the  following  authors  and  publishers  in  allowing  the  use  of  copyrighted  poems 
which  they  control  is  hereby  acknowledged: 

Laurence  Alma-Tadema  for  "King  Baby,"  "Strange  Lands,"  and  "Dance,  Dance,  Baby;" 
Alice  Carrick  Skinner  for  "The  Clock;"  George  Reiter  Brill  for  "The  Recipe,"  "Benediction,"  and 
"A  Telephone  Message"  from  "Rhymes  of  the  Golden  Age;"  Charles  Keeler  for  "Baby  Life"  from 
"Elfin  Songs  of  Sunland;"  Carolyn  S.  Bailey  for  "Little  Miss  Tulip,"  and  Carolyn  S.  Bailey  and 
Milton  Bradley  Company  for  "The  Hall  Clock"  from  "Songs  of  Happiness;"  The  Universalist 
Publishing  House  and  the  author  for  "The  Mill  Wheel"  by  Kate  Louise  Brown;  Henry  R.  Patten- 
gill,  publisher,  and  the  author  for  "The  Pink  Pig"  from  "Farmerkin's  Farm  Rhymes"  by  Dora  H. 
Stockman;  The  Century  Company  for  "The  Song  Sparrow's  Toilet"  by  H.  H.  Bennett;  Dana  Estes 
&  Company  and  the  author  for  "Summer  Song,"  "Garden  Song,"  and  "The  Windflower"  from  "The 
Piccolo"  by  Laura  E.  Richards;  The  Outlook  and  the  author's  family  for  "The  Gingerbread  Man" 
by  Eva  Rowland;  F.  A.  Owen  Publishing  Company. for  "A  Frown  and  a  Smile"  by  Mary  Bailey, 
from  Primary  Plans;  the  publishers  and  the  author's  family  for  "Mud  Pies"  from  "Little  Knights 
and  Ladies"  by  Margaret  E.  Sangster,  copyright,  1895,  by  Harper  &  Brothers;  The  American  Pri- 
mary Teacher  for  "Dandelion,  Yellow  as  Gold;"  Mrs.  Lida  B.  McMurry  and  the  Public  School  Pub- 
lishing Company  for  "Rock-a-bye,  Hush-a-bye,  Little  Papoose"  by  Charles  Myall;  The  Youth's 
Companion  for  "Winter  Roses,"  "Hidden  Treasures,"  and  "Bedtime,"  and  The  Youth's  Companion 
and  the  authors  for  "Icicles  and  Bicycles"  by  Anna  M.  Pratt  and  "Mathematics"  by  Thomas 
Tapper;  the  publishers  for  "The  Five  Toes,"  "Old  Chang,  the  Crab"  and  "The  Firefly"  from  "Chi- 
nese Mother  Goose  Rhymes"  by  Isaac  Taylor  Headland,  copyright,  1900,  by  Fleming  H.  Revell 
Company;  Rand,  McNally  &  Company  and  the  authors  for  "The  Jolly  Holly  Farm"  from  "The 
Rhyming  Ring"  by  Louise  Ayres  Garnett,  and  "Lady  Bug"  from  "Little  Rhymes  for  Little  Readers" 
and  "A  Song  Without  Words,"  "What  I  Like,"  and  "Frosting"  from  "Other  Rhymes  for  Little 
Readers"  by  Wilhelmina  Seegmiller;  Charles  Scribner's  Sons  for  "Four  Boys"  from  "Rhymes  and 
Jingles"  by  Mary  Mapes  Dodge.  "Dandelion"  and  "The  Naughty  Tulip"  by  Abbie  Farwell 
Brown  are  used  by  permission  of,  and  by  special  arrangement  with,  Houghton  Mifflin  Company, 
authorized  publishers  of  her  works. 

Thanks  are  also  due  for  authority  to  use  the  words  and  music  of  the  following  songs : 

"Choo-choo-choo"  from  "Child  Songs,"  published  by  Otis  M.  Carrington  and  "Three  Little 
Heads  "  from  "  Action  Songs,"  published  by  J.  Curwen  &  Sons,  Ltd. :  also  the  music  only  of :  "The  May- 
pole Dance  "  used  by  permission  f rom  "  Folk  Dances  and  Games ' '  by  Caroline  Crawford,  copyright,  1912 
The  A.  S.  Barnes  Company,  publishers;  "The  Eskimo  Hunter,"  from  "Airs  of  All  Lands,"  by  John 
Philip  Sousa,  published  by  Carl  Fischer;  "Dance  of  Greeting,"  arranged  by  Mari  L.  Hofer;  "Windy 
Nights"  by  Margaret  Peddle  Bodde,  published  by  The  Ladies'  Home  Journal;  and  "Kris  Kringle's 
Song,"  by  Catharina  van  Rennea,  used  by  permission  of  the  composer  and  of  the  publisher, 
Jac.  van  Rennes. 


PEDAGOGICAL   OUTLINE 

wing  the  successive  steps  in  the  pedagogical  plan  of  this  series,  with  the  grade  and 
month  in  which  each  topic  is  first  presented 

1.  Teaching  First  Grade,     First  Month 

2.  Rhythrj  opmenl    Through  rote 

folk  dances,  singing  games)   .    .    .     First  Grade,     First  Month 

Singing  with  "loo"  or  other 

First  Grade,     Sixth  Month 

1.    ,                                gnition  of  Phrase  Repe- 
tu  First  Grade,     Sixth  Month 

Application  of  so-fa  Sylla- 
bles  First  Grade,     Sixth  Month 

ining:   Study  of  Motives  and  Fig- 
urea  Second  Grade,  First  Month 

7.    T.      Training:     Presentation   of  Notation 
Familiar  |  songs    from    blackboard   and 

book) Second  Grade,  Sixth  Month 

8     i        Training:    Visualization  Drills  (Fig- 

ures) Second  Grade,  Sixth  Month 

Reading  of  New  Songs    Teacher  as- 
_ Second  Grade,  Ninth  Month 

Sighl  Reading    [ndependenl  reading  of  new 

Bongs) Third  Grade,  Sixth  Month 


VI 


TABLE  OF   CONTENTS 

INTRODUCTION  PAOE 

Modern  Educational  Ideals 3 

Stages  of  Development 3 

1.  The  Sensory  Period 3 

2.  The  Associative  Period 4 

3.  The  Adolescent  Period 4 

Pedagogical  Conclusions 4 

1.  The  Sensory  Period 4 

2.  The  Associative  Period 5 

3.  The  Adolescent  Period 6 

Bibliography 7 

PART  ONE:   GENERAL  SUGGESTIONS  FOR  THE  PRIMARY  GRADES 

I.  Song  Material 9 

1.  Quality 9 

2.  Organization 10 

3.  Development 11 

II.  Teaching  Rote  Songs 12 

1.  General  Directions 12 

2.  First  Presentation 12 

3.  Singing  by  Groups  and  Individuals 13 

III.  The  Value  of  Artistic  Singing 14 

IV.  The  Child  Voice 15 

1.  Preservation  and  Development 15 

2.  Special  Training  for  Less  Musical  Children 16 

3.  Devices  and  Material  Used  in  Treating  Monotones 18 

V.  Rhythmic  Development 19 

PART  TWO:  GRADED   OUTLINES 

First  Grade  —  Syllabus 22 

First  Grade  —  Introduction 23 

I.  Teaching  of  Rote  Songs 23 

1.  To  Introduce  Music  to  the  Children 23 

2.  To  Provide  Musical  Experience 23 

3.  To  Develop  the  Ability  to  Sing 24 

II.  Rhythmic  Development *    .  24 

1.  Through  Rote  Songs 24 

2.  Through  Action  .    .    .    .  • 24 

III.  Specific  Work  in  Ear  Training 24 

1.  Singmg  Songs  with  "loo"  or  Other  Neutral  Syllable 24 

2.  Recognition  of  Phrase  Repetition 25 

3.  Application  of  so-fa  Syllables 26 

First  Grade  —  Monthly  Outlines 28 

First  Month 28 

Second  Month 28 

vii 


VH1 


CON  i  ENTS 


Monthly  Outunb8  {Continued)  page 

29 

29 

29 

29 

nth  Month                      30 

Month          31 

32 

32 

- 3^ 

:              noN 35 

I     1    m  lung                           3^ 

1.  For  Inspiration 35 

For  Development  of  Musical  Feeling  and  Artistic  Expression 35 

isionof  Children's  Musical  Experience  and  Vocabulary.   ...  36 

II.  Elhythmic  Development 36 

III.  Specific  Work  in  Ear  Training 36 

I.  S            Song     -iili  Neutral  Syllable 36 

gnition  of  Phrase  Repetition 37 

m  of  so-fa  Syllables 37 

4.   Recognition  of  Motives  and  Figures 37 

IV.  lion  of  Familiar  Songs  in  Staff  Notation 39 

1.  Observing  Representation  of  an  Entire  Familiar  Song 39 

gnition  of  Familiar  Phrases  by  Position  in  the  Song 39 

m  of  Motives  and  Figures  by  Position  in  the  Song 39 

4.   Drills  in  Independent  Recognition  of  Motives  and  Figures 40 

V.  Reading  New  Songs  from  Staff  Notation 41 

1.    Preliminary  Study 41 

Study  of  the  First  Phrase 42 

_    ad  Singing  Repetitions  of  the  First  Phrase,  if  Any 42 

9imilar  Study  of  Remaining  Phrases  and  Their  Repetitions,  if  Any  ...  42 

Entire  Song  with  Words;  Memorization 42 

Monthly  Outlines 43 

•  Month 43 

Characteristic  Motives  and  Figures  in  the  Songs  of  Chapter  I  ....  44 

Summary  of  Figures  in  Chapter  I 45 

:id  Month 45 

( Jharacteristic  Motives  and  Figures  in  the  Songs  of  Chapter  II     ...  46 

Summary  of  Figures  in  Chapter  II 47 

Third  Month 48 

( 'haract.Ti-.tic  Motives  and  Figures  in  the  Songs  of  Chapter  III    .    .    .  48 

Summary  of  Figures  in  Chapter  III 49 

Fourth  Month 50 

( Jharacteristic  Motives  and  Figures  in  the  Songs  of  Chapter  IV    .    .    .  50 

unary  of  Figures  in  Chapter  rV 52 

Fifth  Month 53 

Character^  ic  Motives,  Figures,  and  Intervals  of  the  Songs  of  Chapter  V    53 

Summary  of  Intervals 56 


CONTENTS  ix 

Second  Grade  —  Monthly  Outlines  {Continued)  page 

Sixth  Month 5G 

Table  of  Figures  in  Chapter  I 57 

Seventh  Month 58 

Table  of  Figures  in  Chapter  II 58 

Table  of  Figures  in  Chapter  III 59 

Eighth  Month 60 

Table  of  Figures  in  Chapter  IV 60 

Table  of  Figures  in  Chapter  V 63 

Ninth  Month 66 

Analysis  of  Songs  of  Chapter  VI 66 

Tenth  Month 68 

Analysis  of  Songs  of  Chapter  VII 68 

Summary  of  Figures  Outlined  for  Study  in  the  Second  Grade    ....  70 

Third  Grade  —  Syllabus 74 

Third  Grade  —  Introduction 75 

I.  Rote  Songs 75 

1.  Development  of  Artistic  Singing 75 

2.  Enlargement  of  the  Musical  Vocabulary 76 

II.  Rhythmic  Development 76 

1.  Growth  of  the  Rhythmic  Sense 76 

2.  Study  of  Rhythmic  Notation 76 

III.  Specific  Work  in  Ear  Training 77 

1.  Organization  and  Development  of  the  Figure  Vocabulary  acquired  in  the 

Previous  Grade 77 

2.  Further  Enlargement  of  the  Vocabulary 79 

3.  Development  of  the  Ability  to  Sing  Any  Tone  of  the  Scale  by  Relating  it 

with  the  Tonic 80 

4.  Creative  Work 81 

IV.  Specific  Work  in  Eye  Training 81 

1.  Visualization  Drills  for  Figures  made  Familiar  through  Ear  Training  .    .  81 

2.  Finding  Staff  Position  of  the  Tonic  Chord  from  the  Key  Signature  ...  SI 

3.  Written  Work 82 

V.  Development  of  the  Synthetic  Process 82 

1.  Reversing  Former  Analytical  Process 82 

2.  Re-reading  Familiar  Songs 82 

3.  Reading  New  Songs  Classified  with  Regard  to  Figure  Content 83 

4.  Reading  Unclassified  Songs 83 

Third  Grade  —  Monthly  Outlines *  84 

First  Month 84 

Second  Month 84 

Analysis  of  Songs  of  Chapter  VIII 85 

Third  Month .  86 

Analysis  of  Songs  of  Chapter  IX 87 

Fourth  Month 89 

Analysis  of  Songs  of  Chapter  X 89 

Fifth  Month 93 

Sixth  Month      93 

Seventh  Month 94 


,  'Mints 

TH1  ted)  paqi 

'■" 

!)1 

95 

Grade 96 

,;  Third  (  }rade 98 

FOLK    DANCES  AND  SINGING   GAMES 

103 

106 

113 

IKS 119 

>UR:   ADDITIONAL   ROTE  SONGS 129 

OMPANIMENTS  FOR  SONGS   IN  BOOK  ONE 187 

¥  OF  ITALIAN  MUSICAL  TERMS 286 

I M ) I  :  >NGS    WD   DANCES 287 


THE  PROGRESSIVE  MUSIC  SERIES 

Teacher's  Manual 

VOLUME  I 


INTRODUCTION 

MODERN  EDUCATIONAL  IDEALS 

The  educational  ideals  of  the  present  day,  influenced  by  psychological 
research  and  child  study,  have  brought  about  many  changes  in  elementary 
school  standards,  aims  of  educators,  and  methods  of  teaching.  In  all  branches 
educators  are  now  agreed  that  the  material  used  must  be  intrinsically  inter- 
esting; that  it  must  possess  elements  of  permanent  value;  that  it  must 
appeal  to  the  minds  and  interests  of  the  children  for  whom  it  is  intended; 
and  that  the  methods  of  presentation  adopted  in  any  given  grade  must 
apply  to  the  stage  of  mental  development  characteristic  of  that  grade. 
In  other  words,  the  subject  matter  and  the  pedagogical  scheme  must 
be  adapted  to  the  children,  instead  of  adapting  the  children  to  an  adult's 
comprehension  of  subject  matter,  or  to  a  logical  and  empirical  pedagogy.1 

STAGES   OF  DEVELOPMENT 

Modern  psychological  and  pedagogical  investigators  have  established 
the  fact  that  there  are  three  well-defined  stages  in  the  physical  and  mental 
growth  of  children,  extending  through  and  beyond  the  Primary,  Interme- 
diate, and  Grammar  grades.  These  are:  first,  the  Sensory  Period,  begin- 
ning with  infancy  and  continuing  into  the  third  grade,  which  is  transitional; 
second,  the  Associative  Period,  extending  through  the  fourth,  fifth,  and  sixth 
grades,  the  seventh  being  another  transitional  grade;  third,  the  Adolescent 
Period,  usually  beginning  in  the  seventh  grade  and  continuing  through  the 
eighth  grade  and  into  the  high  school.2 

1.  The  Sensory  Period 
The  Sensory  Period  is  marked  by  extremely  rapid  physical  growth,  ac- 
companied by  a  lack  of  the  finer  muscular  and  mental  coordinations.  It 
is  a  time  of  physiological  development  and  sensory  activity,  dealing  with 
objects  and  concrete  experiences.  Interest  is  sporadic  and  is  more  concerned 
with  the  activity  itself  than  with  its  product.  Suggestion,  fancy,  imagina- 
tion, keen  observation,  and  imitation  play  a  large  part  in  the  child's  life. 
Impressions  and  stores  of  experience  are  being  gathered  which  later  become 
the  foundation  stones  of  the  child's  educational  structure.3 

1  See  McMurry,  "How  to  Study,"  page  53;  Partridge,  "Genetic  Philosophy  of  Educa- 
tion," pages  99-101. 

2  See  Partridge,  "Genetic  Philosophy  of  Education,"  page  73. 
•  See  Tyler,  "Growth  and  Education,"  pages  131-145. 

3 


4  \(  lli:i:s  MANUAL 

2.  The  Associative  Period 

r  Drill  Period  is  distinguished  by  comparatively  slow 

been  completed,  and  the  brain  has  grown  to 

The  finer  adjustments  and  coordinations  of  the  body 

m   accomplished  with  greater  ease;    physical  feats 

:id  skill  an'  easily  performed.    "There  is  great  endur- 

and  excellent  resistance  to  mental  fatigue.    Memory  is 

I  lasting.     Never  again  will  there  be  such  susceptibility  to 

ere  is  interest  in  the  product  of  activity,  and  no 

1  ctivity  for  its  own  sake."  '    The  child  is  associating 

I  1  through  sense  development,  and  is  classifying  and  or- 

•  usable  related  groups. 

3.  The  Adolescent  Period 

1  is  again  characterized  by  rapid  physical  growth, 

.   by  Magnusson  as  an   "enlargement  of  the  plant"  requiring  so 

that   there  is  little  left  for  "current  expenses."    The  period 

mark  attiring  of  the  child  into  young  manhood  or  womanhood  and  is 

by  changes  in  the  mental  life  as  radical  as  those  manifested 

1  >tions  dominate  the  individual;  in  fact,  the  whole 

notional;    strong  social,  moral,  and  religious 

r  ■  prominent  characteristics. 

Id  the  molding  of  character,  the  development  of  high  ideals, 

and  ling  of  good  taste  and  artistic  discrimination  are  of  great  im- 

•.2 

PEDAGOGICAL   CONCLUSIONS 

1.  The  Sensory  Period 

[t  Id's  sense  experience  with  music,  which  he  gains 

of  the  car,  must  be  based  upon  real  music,  real 
and  not  the  scale  or  technical  exercises,  represent  the  con- 
ic, in  which  the  child  is  naturally  interested.     It  is- also  appar- 
n  must  be  intrinsically  beautiful  and  not  too  long, 
ed  in  holding  his  sporadic  attentive  powers;  that  they  must 
and  arouse  his  imagination. 
LA  nee,  the  child's  early  musical  experience  must  be 

by  imitation,  for  this  power  is  his  strongest  faculty  at  this  stage, 
designated  as  "  rote  songs,"  to  be  learned  by  imita- 
tion.   The  child  must  be  saturated  with  rote-song  experience:    he  must  be 

m,  "Psychology  as  Applied  to  Education,"  page  222. 
1  &  e  Hull,  "Educational  Problems,"  page  123. 


INTRODUCTION  5 

taught  to  love  music  and  to  love  to  sing;  to  sing  with  light,  mellow  tone 
quality,  and  to  express  his  feelings  in  an  artistic  manner  through  the  songs 
he  loves.  This  training  of  the  voice  and  developing  of  the  ability  to  sing 
artistically  are  in  thorough  sympathy  with  the  psychological  characteristics 
of  the  period.  The  child  learns  by  observing,  by  imitating,  by  doing  the 
thing  himself. 

He  must  be  taught  to  hear  accurately  and  to  express  accurately  what 
he  hears,  just  as  in  the  language-learning  process.  He  must  be  made  con- 
scious not  only  of  the  song-wholes  which  interest  him,  but  also  of  the  smaller 
tone  groups  of  which  the  songs  are  composed. 

The  first  studies  must  be  analytical  in  their  nature,  beginning  with  familiar 
song-wholes,  and  working  toward  the  smaller  constituent  elements.  Later 
these  elements  are  to  be  synthetically  recombined  by  the  child  so  as  to 
give  him  a  new  and  more  intimate  conception  of  the  original  song-whole. 
Still  later,  in  reading  new  songs,  the  child  will  be  called  upon  to  make  use 
of  these  familiar  elements  in  grasping  the  musical  ideas  embodied  in  the 
new  wholes. 

A  definite  tone  vocabulary  and  a  feeling  for  tonality  and  rhythm  are 
thereby  developed,  which  will  later  prove  indispensable  in  the  analysis  and 
intelligent  reading  of  new  songs  from  notation.  The  power  to  think  in  tones 
and  in  tone  relationships  corresponds  to  the  ability  to  think  in  a  language, 
to  comprehend  the  meaning  of  words  used  to  represent  familiar  ideas,  and  to 
express  thoughts  and  feelings  in  that  language.  It  is  a  fundamental  prin- 
ciple that  experience  with  objects  and  facts  must  precede  the  study  of  the 
symbols  which  represent  them,1 

2.  The  Associative  Period 
The  Associative  Period  is  the  time  for  independent  work  in  music,  for 
formal  drill  in  the  various  tonal  and  rhythmic  combinations  until  automat i 
control  of  them  is  acquired.  Here,  if  at  all,  independent  power  in  sight 
reading  and  interpretation  is  to  be  realized.  Psychologically  considered,  it 
is  the  proper  time  for  this  type  of  study.  The  children  are  ready  and  eager 
for  hard  work,  for  memorizing  combinations,  for  drill,  for  solving  prob- 
lems independently,  in  short,  for  technical  mastery.  Attention  must  become 
more  voluntary,  less  sporadic.  The  continued  use  of  beautiful  songs, 
arranged  in  such  sequence  in  the  books  that  topically  the  problems  to  be 
mastered  will  follow  in  natural  and  logical  order,  will  be  the  best  means  of 
securing  voluntary  attention.  Through  such  topical  arrangement  the  new 
in  experience  is  related  with  the  old  and  the  development  is  logical,  "from 

1  See  Colvin,  "The  Learning  Process,"  page  92;  McMurry,  "Elementary  School  Stand- 
ards," page  102;  Gilbert,  "What  Children  Study  and  Why,"  page  264. 


6  TEACHER'S  MANUAL 

the  known  to  the  unknown."  There  is  no  excuse,  in  the  light  of  present-day 
researches,  for  a  haphazard  and  heterogeneous  arrangement  of  song  ma- 
terial, nor  yet,  on  the  other  hand,  for  recourse  to  the  use  of  mechanical  exer- 
cises, or  " study"  songs  without  life  or  inspiration,  merely  for  the  sake  of  the 
problem  involved. 

In  this  series  tonal  and  rhythmic  problems  are  classified  and  studied  with 
absolute  definiteness  and  attention  to  minute  details.  In  Books  Two  and 
Three,  which  cover  the  work  of  the  Associative  Period,  the  songs  embody- 
ing these  problems  are  organized  into  chapters.  A  fundamental  principle  is 
that  where  the  introduction  of  new  tonal  problems  is  involved  the  rhythmic 
ideas  should  be  familiar,  and,  vice  versa,  where  the  introduction  of  a  new 
rhythmic  problem  is  involved  the  melodic  ideas  should  be  familiar.  Gen- 
erally speaking,  four  steps  are  necessary  for  the  logical  unfolding  of  a  musical 
problem  in  the  Associative  or  Drill  Period:  (1)  a  review  of  a  familiar  song 
which  embodies  the  problem;  (2)  a  clear  statement  of  tne  problem  to  the 
pupils;  (3)  definite  and  thorough  drill  on  the  problem,  isolated  from  the 
context;  (4)  application  of  the  mastered  problem  in  reading  new  songs  in 
which  it  occurs.1 

The  first  step  brings  to  mind  the  fact  that  the  use  of  rote  songs  is  con- 
tinued through  the  fourth  and  fifth  grades,  although  in  far  less  proportion 
than  in  the  primary  grades.  The  object  is  twofold:  first,  continually  to  bring 
the  children  into  contact  with  beautiful  and  inspired  music  not  limited  to 
their  immediate  technical  powers;  second,  to  provide  actual  experience  with 
new  musical  effects,  gained  unconsciously  by  imitation,  which  later  are  to 
be  consciously  studied  as  problems  and  mastered. 

3.  The  Adolescent  Period 

The  Adolescent  Period  reveals  characteristics  markedly  similar  to  cer- 
tain of  those  in  the  Sensory  Period,  e.g.,  a  rapid  physical  growth  accom- 
panied by  somewhat  lazy  physical  and  mental  habits.  It  is  not  a  favorable 
period  for  exact  attention  to  detail,  nor  for  drill  in  mechanical  precision. 
It  is,  as  we  have  seen,  an  age  of  emotionalism,  for  the  development  of  the  finer 
sentiments  and  feelings.  The  child  is  becoming  conscious  of  himself  as  a 
factor  in  the  race,  as  an  integral  part  of  society.  The  "gang"  spirit  is  in 
the  air  and  should  be  recognized  in  the  music  work.  "Team  work"  finds 
its  expression  in  part  singing. 

Music  should  be  selected  to  make  a  strong  appeal  to  the  emotional  side  of 
the  adolescent  pupil.  Here,  if  anywhere,  music  of  sheer  beauty  of  melody  and 
of  appealing  harmonies  must  be  used  if  it  is  to  hold  the  interest  of  these  young 

1  See  Bryan,  "Basis  of  Practical  Teaching,"  pages  176-178;  McMurry,  "Elementary  School 
Standards,"  pages  104,  105. 


INTRODUCTION  7 

people.  Much  singing,  with  constant  play  on  the  feelings,  is  the  keynote  to 
success  here.  It  is  not  wise  even  to  insist  on  too  exact  details  in  the  inter- 
pretation, involving  much  repetition  and  drill.  Encouragement  rather  than 
criticism  is  needed;  inspired  leadership  rather  than  critical  authority. 

Time  may  profitably  be  devoted  to  the  study  of  the  great  composers  as 
the  equals  of  other  men  of  achievement;  an  interest  in  their  works  is 
enhanced  by  such  study,  and  the  pupils'  viewpoints  of  life  and  of  history 
are  broadened.  The  graphophone  and  the  player  piano  have  here  a  great 
mission  to  perform  in  the  development  of  musical  taste.  Study  of  the  form- 
structure  and  of  the  thematic  divisions  of  the  larger  works  will  prove  both 
interesting  and  profitable. 


BIBLIOGRAPHY 

Briggs  and  Cofifman 

Reading  in  the  Public  Schools Row,  Peterson  &  Company,  Chicago. 

Bryan,  E.  B. 

The  Basis  of  Practical  Teaching    ....     Silver,  Burdett  &  Company,  Boston. 

Colvin,  S.  J. 

The  Learning  Process      The  Macmillan  Company,  New  York. 

Cornell,  J.  H. 

Musical  Form G.  Schirmer  &  Co.,  New  York. 

Dawson,  John  J. 

The  Voice  of  the  Boy The  A.  S.  Barnes  Company,  New  York. 

Dewey,  John 

How  We  Think D.  C.  Heath  &  Co.,  Boston. 

Farnsworth,  Charles  H. 

Education  Through  Music American  Book  Company,  New  York. 

Fryberger,  Agnes  Moore 

Listening  Lessons  in  Music Silver,  Burdett  &  Company,  Boston. 

Gilbert,  Charles  B. 

What  Children  Study  and  Why    ....     Silver,  Burdett  &  Company,  Boston. 

Hall,  G.  Stanley 

Educational  Problems D.  Appleton  &  Company,  New  York. 

Youth.      Its     Education,    Regimen    and 

Hygiene D.  Appleton  &  Company,  New  York. 

Huey,  Edmund  Burke 

Psychology  and  Pedagogy  of  Reading  .    .     The  Macmillan  Company,  New  York. 

T.  M.  Vol.  1—2 


8  TEACHER'S  MANUAL 

James,  William 

Psychology Henry  Holt  and  Company,  New  York. 

Talks  to  Teachers Henry  Holt  and  Company,  New  York. 

Judd,  C.  H. 

Genetic  Psychology D.  Applcton  &  Company,  New  York. 

Keith,  J.  A.  H. 

Elementary  Education Scott,  Foresman  &  Co.,  Chicago. 

King,  Walter  Irving 

The  Psychology  of  Child  Development    .     University  of  Chicago  Press. 

MacDowell,  Edward 

Historical  and  Critical  Essays A.  P.  Schmidt,  Boston. 

McMurry,  Charles 

Special  Method  in  Reading  in  the  Grades     The  Macmillan  Company,  New  York. 

McMurry,  Frank 

Elementary  School  Standards World  Book  Company,  Yonkers,  N.  Y. 

How   to    Study    and    Teaching    How   to 

Study Houghton  Mifflin  Company,  Boston. 

Magnusson,  P.  M. 

Psychology  as  Applied  to  Education    .    .     Silver,  Burdett  &  Company,  Boston. 

Parry,  C.  Hubert  H. 

Evolution  of  the  Art  of  Music D.  Appleton  &  Company,  New  York. 

Partridge,  George  Everett 

Genetic  Philosophy  of  Education      .    .    .     Sturgis  &  Walton,  New  York. 

Seashore,  C.  E. 

Psychological  Monographs Psychological  Review  Company,  Prince- 
ton, N.  J. 
Tichenor,  E.  B. 

Primer  of  Psychology The  Macmillan  Company,  New  York. 

Tyler,  John  M. 

Growth  and  Education    ........     Houghton  Mifflin  Company,  Boston. 

Winship,  A.  E. 

The  Journal  of  Education Boston. 


PART  ONE 

GENERAL  SUGGESTIONS  FOR  THE  PRIMARY 

GRADES 

I.    SONG   MATERIAL 
1.    Quality 

The  songs  chosen  for  the  development  of  musical  experience  must  pos- 
sess elements  appealing  to  children;  also,  if  the  highest  aims  of  modern  educa- 
tion are  to  be  realized,  they  must  possess  elements  of  distinct  permanent 
value. 

It  is  contended  that  all  literature  is  a  development  of  the  legends,  myths, 
fairy  tales,  and  folk  rhymes  which  were  handed  down  from  mother  to  child, 
by  word  of  mouth,  for  centuries  before  printed  books  were  in  common  use. 
Many  of  these  stories,  differing  only  in  details,  are  familiar  to  so  many  dif- 
ferent nationalities  that  this  theory  of  the  origin  of  literature  in  racial  devel- 
opment has  received  general  acceptance.  Acquaintance  with  these  tales  is 
admittedly  the  child's  natural  heritage.  They  not  only  appeal  to  all  chil- 
dren, but  they  possess  those  elements  of  permanent  value  which  make  of 
them  the  stepping-stones  to  an  appreciation  of  universal  literature. 

This  is  equally  true  of  the  development  of  the  musical  experience  of  the 
race.  Folk  songs  and  rhymes,  folk  dances  and  singing  games,  played  a  large 
part  in  the  life  of  all  peoples  long  before  staff  notation  had  been  developed. 
Songs  were  learned  by  ear  and  passed  on  from  generation  to  generation. 
This  process  is  still  going  on  in  the  musical  life  of  European  peasants  and 
of  primitive  people  of  the  present  day. 

Since  it  is  generally  agreed  that  the  growth  of  modern  musical  literature 
has  been  strongly  influenced  by  folk  music,  he  who  would  understand  and 
appreciate  the  higher  forms  of  musical  art  should  become  familiar  with  the 
beginnings  of  music  as  expressed  in  the  folk-song  literature  of  different  na- 
tions. The  early  years  of  child  life  are  the  years  when  much  of  this  folk 
music  makes  its  strongest  appeal. 

The  authors  of  the  Progressive  Music  Series,  recognizing  this  fundamental 
principle,  have  included  in  Book  One  and  Teacher's  Manual,  Volume  I,  a 
large  number  of  folk  songs,  as  well  as  singing  games  and  folk  dances,  selected 
from  the  widest  variety  of  sources.  Art  qualities,  inherent  interest,  direct- 
ness of  appeal,  simplicity  of  form  with  repetition  as  a  principle,  have  been 
the  criterions  upon  which  their  selection  has  been  based. 

9 


10  TEACHER'S   MANUAL 

There  are  also  many  songs  by  the  great  composers  of  the  past,  as  well 
as  original  contributions  to  these  books  by  the  best-known  composers  of 
the  present  day. 

Xo  abstract  phases  of  music  such  as  scales,  mechanical  exercises,  or 
so-called  "studies,"  no  meaningless  melodies  barren  of  individual  charm  or 
interest,  have  been  given  a  place.  The  use  of  art  material  of  the  highest 
quality  has  been  an  ever-present  ideal. 

2.   Organization 

The  songs  of  Book  One1  have  been  grouped  into  chapters  according  to 
their  most  prominent  i nelodic  characteristics.  As  in  the  early  folk  tales 
the  repetition  of  characteristic  phrases  is  an  essential,  so  the  repetition  of 
characteristic  phrases  is  a  fundamental  principle  in  early  folk  music,  and  is 
a  prominent  feature  in  the  songs  of  Book  One. 

Part  One  of  Book  One  consists  of  five  chapters.  In  Chapter  I,  the 
melodies  are  based  principally  upon  the  tonic  chord,  or  the  do-mi-so-do 1  idea. 
The  chord  idea  is  elemental,  or  common  to  nature.  The  natural  tones  of 
trumpets,  bugles,  etc.,  are  along  the  line  of  the  tonic  chord.  The  same  is 
true  of  strings,  a  piano  string  giving  out  its  fundamental  tone  and  an  ascend- 
ing series  of  overtones,  the  more  prominent  of  which  belong  to  the  major 
chord.  In  tracing  sources  of  musical  ideas  in  primitive  races,  it  is  significant 
to  note  that  they  are  based  largely  upon  chord  relations  rather  than  upon 
any  given  scale,  the  scale  being  a  later  development  in  the  evolution  of 
music.  As  in  colors  or  in  space  relations,  children  distinguish  large  differ- 
ences more  easily  than  minute  ones,  so  in  music,  larger  differences  in  pitch 
are  more  easily  distinguished  than  smaller  differences. 

In  Chapter  II,  the  melodies  are  based  principally  upon  the  tones  of 
the  tonic  chord  with  their  active  neighboring  tones,  as  do-re-do,  do-ti-do, 
mi-fa-mi,  so-la-so,  etc. 

In  Chapter  III,  we  find  scale  figures,  such  as  do-re-mi,  mi-fa-so,  so-la-ti-do, 
etc.,  which  recur  frequently. 

In  Chapter  IV,  greater  variation  is  given  to  these  scale  figures  through 
sequential  repetitions  higher  or  lower  in  the  key. 

In  Chapter  V,  the  progression  of  melodies  by  skips,  or  intervals,  is  the 
prominent  characteristic.  The  sequential  repetition  of  these  interval  figures 
is  noticeable.    The  chapter  also  includes  songs  with  sequential  chord  figures. 

Part  Two  of  Book  One  contains  simple  study  songs  which  are  composed 
mainly  of  musical  ideas  made  familiar  to  the  children  through  the  study 
of  the  songs  in  Part  One.  These  are  to  be  read  by  the  children  with  the 
help  of  the  teacher  through  the  unfamiliar  passages.    As  may  be  noted  by 

1  A  line  above  the  syllable  denotes  the  upper  octave,  a  line  below  denotes  the  lower  octave. 


GENERAL  SUGGESTIONS  11 

comparing  chapter  headings,  the  musical  ideas  in  this  part  of  the  book  are 
organized  upon  the  same  basis  as  those  in  Part  One.  For  instance,  in  Chap- 
ter VI  the  songs  are  based  principally  on  tonic-chord  motives  and  figures, 
as  was  the  case  in  Chapter  I;   Chapter  VII  corresponds  to  Chapter  II,  etc. 

Part  Three  contains  a  number  of  miscellaneous  songs  to  be  read  at  sight 
by  the  children  without  the  assistance  of  the  teacher.  The  teacher  may, 
however,  see  fit  to  give  suggestions  which  will  direct  the  children  in  intelli- 
gently analyzing  the  new  song  into  its  smaller  divisions  or  in  reducing  phrases 
to  figures;  these  figures  in  most  cases  will  be  found  to  be  already  familiar. 

Part  Four  contains  a  number  of  art  songs  and  rote  songs  for  recreative 
singing  and  for  developing  musical  feeling  and  artistic  interpretation.  When 
learned,  they  should  be  sung  with  piano  accompaniments  wherever  possible. 
The  accompaniments  will  develop  a  sense  of  harmony  and  will  appeal  to  the 
imaginative  nature  of  the  children.  Accompaniments  to  these  songs  and  to 
many  of  the  other  songs  throughout  Book  One  will  be  found  in  this  Manual. 

3.  Development 

In  presenting  music  material  to  children,  and  in  the  development  of  their 
musical  experience  from  the  imitative  rote-song  stage  to  the  point  of  intelli- 
gent sight  reading  of  new  songs  from  notation,  the  pedagogical  steps  will  be 
very  similar  to  those  prescribed  by  modern  approved  methods  of  teaching 
language  reading. 

Six  Pedagogical  Steps 1 

First  Step.  Teaching  rote  and  observation  songs  for  musical  experience 
and  oral  expression. 

Second  Step.  Concentrating  attention  upon  the  purely  musical  aspects  of 
the  songs  by  singing  with  "loo"  or  some  other  neutral  syllable,  with  the 
observation  of  phrase  repetition  as  a  fundamental  principle. 

Third  Step.  Application  of  the  so-fa  syllables  to  familiar  songs;  the  sylla- 
bles to  be  learned  by  imitation,  as  a  final  stanza.  , 

Fourth  Step.  Observation  of  motives  and  figures;  definite  ear  training  for 
the  purpose  of  developing  a  vocabulary  of  musical  ideas. 

Fifth  Step.  Presentation  of  familiar  songs  in  staff  notation;  observation  of 
familiar  motives  and  figures  as  represented  by  staff  pictures;  drill  in  rapid 
visualization. 

Sixth  Step.  Beginning  of  the  synthetic  process.  Recognition  of  familiar 
melodic  figures  in  the  notation  of  new  songs  which  are  read  by  the  children 
with  such  assistance  from  the  teacher  as  may  be  required. 

1  See  Gilbert,  "What  Children  Study  and  Why";  Huey,  "Psychology  and  Pedagogy  of 
Reading";  Briggs  and  Coffman,  "Reading  in  the  Public  Schools";  Charles  McMurry,  "Special 
Method  in  Reading";  Frank  McMurry,  "Elementary  School  Standards." 


12  TEACHER'S   MANUAL 

II.   TEACHING   ROTE    SONGS 

1.  General  Directions 

The  first  essential  in  the  presentation  of  a  rote  song  to  children  is  to 
arouse  their  imagination  and  the  undivided  attention  which  comes  from 
genuine  interest.  This  the  teacher  may  accomplish  by  singing  the  song  at 
convenient  times  on  several  successive  days.  Her  sin^in^  should  he  as 
spontaneous,  enthusiastic,  and  expressive  as  she  can  possibly  make  it. 
Light  quality  of  tone,  distinct  enunciation,  and  a  feeling  for  dramatic  values 
in  expression  are  of  the  greatest  importance.  Appropriate  gestures  and  an 
expressive  countenance  will  add  materially  to  the  expressiveness  of  the  voice, 
and  will  be  reflected  in  the  faces  and  in  the  singing  of  the  children.  While 
gestures  will  attract  the  interest  of  the  children,  they  should  never  be  exag- 
gerated to  a  degree  which  would  interfere  with  the  artistic  use  of  the  voice  or 
which  would  divert  the  attention  from  the  song.  It  is  vital  that  the  first 
impression  which  the  children  receive  of  a  song  be  well-defined,  clear,  and 
distinct,  if  they  are  to  be  enabled  correctly  to  imitate  the  teacher. 

Since  it  is  important  that  the  pitch  of  songs  be  kept  within  the  natural 
high  range  of  the  children's  voices,  the  teacher  must  refer  constantly  to  an 
instrument  or  to  a  pitch  pipe  to  make  sure  of  the  correct  pitch. 

Furthermore,  the  pupils'  singing  at  all  times  should  be  as  beautifully  ex- 
pressive as  possible,  always  under  the  inspiring  guidance  of  the  teacher. 

2.  First  Presentation 

After  the  children's  interest  in  a  song  has  been  aroused  through  hearing 
it  on  several  successive  days,  they  will  be  eager  to  learn  it.  The  teacher  will 
first  sing  the  song,  and  in  a  brief  conversation  will  bring  out  the  story  and 
explain  any  unfamiliar  words.  Next,  she  will  sing  the  first  phrase  clearly 
and  distinctly,  asking  the  children  to  repeat  it.  When  the  first  phrase  has 
been  learned,  the  second  may  be  taught  in  the  same  manner.  This  accom- 
plished, the  teacher  will  join  the  first  two  phrases,  and  have  the  children  do 
likewise.  She  will  then  present  the  third  and  fourth  phrases  in  the  same 
fashion,  and  join  these.     Other  phrases  should  be  taken  similarly. 

The  next  step  is  again  to  sing  for  the  class  the  entire  stanza,  which  they 
will  now  be  prepared  to  imitate  as  a  whole.  With  one  stanza  of  a  song 
memorized,  it  is  well  to  take  up  new  songs,  or  to  review  familiar  ones,  rather 
than  to  weary  the  children  by  the  many  repetitions  required  to  learn  addi- 
tional stanzas,     These  may  be  memorized  on  succeeding  days. 

If  the  children  fail  to  imitate  a  whole  phrase  correctly,  it  may  be  neces- 
sary for  the  teacher  to  break  the  phrase  into  its  natural  melodic  divisions, 
designated  as   motives  and  figures.     She  will   sing  each   figure   separately, 


GENERAL  SUGGESTIONS  13 

asking  the  children  to  imitate,  then  will  join  the  figures,  requiring  the  chil- 
dren to  sing  the  phrase  as  a  whole.  The  phrase  must  always  be  considered 
as  the  unit  of  musical  thought.  For  instance,  in  the  song  "Lady  Bug,"  on 
page  18  of  Book  One,1  the  first  phrase  is  "Lady  bug,  lady  bug,  how  do  you 
do?  "  This  phrase  divides  itself  naturally  into  three  melodic  divisions  called 
figures,  which  correspond  to  the  words  "Lady  bug"  of  three  tones,  the 
following  words  "lady  bug"  of  three  more  tones,  and  "how  do  you  do?" 
consisting  of  four  tones.  The  natural  grouping  of  tones  expressing  musical 
ideas  should  guide  the  teacher's  ear  in  breaking  a  phrase.  If  in  doubt  as  to 
the  proper  division  of  the  phrase,  the  teacher  is  advised  to  consult  the  song 
analyses  in  the  outlines  for  the  second  grade. 

3.   Singing  by  Groups  and  Individuals 

In  music  as  in  other  subjects,  the  teacher  soon  detects  varying  degrees  of 
aptitude  in  the  pupils  of  her  class.  She  should  train  her  ear  to  hear  individual 
voices  while  the  class  is  singing.  Those  pupils  found  to  be  singing  out  of  tune, 
or  singing  on  one  tone,  should  be  asked  to  keep  quiet  and  to  listen.  It  is  a 
good  plan  to  seat  these  children  toward  the  front.  Those  who  seem  to  imitate 
accurately  after  one  or  two  hearings,  and  are  found  to  be  singing  consistently 
in  tune,  should  be  seated  in  the  rear;  while  those  who  seem  dependent,  or 
unreliable,  or  who  require  numerous  hearings  before  they  can  imitate  a  given 
phrase  correctly,  should  be  placed  in  the  middle  seats  of  each  row.  There- 
after the  class  will  be  seated  in  three  groups:  the  leaders  or  more  musical 
children  in  the  rear,  the  less  musical  in  the  middle,  and  the  monotones  or 
musically  defective  pupils  in  the  front  seats. 

In  teaching  a  rote  song,  the  teacher  should  ask  all  the  children  to  listen, 
but  permit  only  the  first  group  to  repeat  after  her;  after  several  addi- 
tional hearings  from  the  teacher  and  the  most  musical  children,  the  second 
group  will  be  ready  to  make  the  effort.  The  children  of  the  third  group 
require  individual  attention. 

Following  this  group  plan  of  instruction,  it  is  important  that  each 
child  be  given  frequent  opportunities  to  sing  short  songs  or  single  phrases  in- 
dividually. This  enables  the  teacher  to  correct  individual  faulty  impres- 
sions of  the  melodies  and  defects  of  intonation,  tone  quality,  and  articulation. 

Individual  singing  should  be  carried  on  consistently,  probably  one-half 
of  the  time  being  devoted  to  this  phase  of  the  work.  In  the  observation  of 
phrase  repetition,  in  applying  the  so-fa  syllables,  and  in  the  study  of  recur- 
ring motives  and  figures,  individual  recitations  should  frequently  precede 
class  recitations.  In  the  observation  of  the  staff  notation  of  familiar  songs, 
in  the  drills  in  rapid  visualization  of  figures  familiar  through  ear  training,  and 

1  Teacher's  Manual,  page  198. 


14  TEACHER'S    MANUAL 

in  the  early  attempts  at  sight  reading,  the  value  of  individual  effort  can  hardly 
be  overestimated. 

Singing,  by  its  very  nature,  being  peculiarly  adapted  to  concert  work, 
there  is  always  the  temptation  to  permit  the  few  leaders  to  "carry"  the  class. 
The  conscientious  teacher  will  be  alert  to  recognize  such  a  condition  and  will 
direct  her  attention  toward  the  development  of  the  less  musical  children  by 
giving  them  individual  practice  in  singing.  It  is  through  the  development 
of  individual  power  t  hat  the  standard  of  class  efficiency  can  best  be  measured. 

III.   THE   VALUE    OF   ARTISTIC    SINGING 

Teachers  should  never  lose  sight  of  the  fact  that  music  is  a  large  subject, 
consisting  of  many  branches.  There  is  vocal  music,  with  all  its  phases  of 
solo  work,  opera,  and  oratorio;  instrumental  music,  with  all  its  branches, 
culminating  in  the  grand  orchestra;  theoretical  music,  leading  up  to  the  art 
of  composition;  and  history  of  music  and  biography  of  musicians.  The  time 
allotted  to  music  in  the  public  schools  is  obviously  too  short  to  cover  all 
these  branches,  even  in  the  most  meager  fashion. 

What  we  can  do  and  must  do  is  to  develop  the  desire  to  sing,  and  to 
teach  the  children  how  to  sing,  how  to  express  their  feelings  through  music 
and  the  medium  of  their  own  voices.  Sight  reading,  with  all  its  mechanical 
details,  is  only  a  means,  though  an  important  one,  to  the  larger  end  of  being- 
able  to  sing  and  loving  to  sing.  The  desire  to  hear  good  music  and  the  ability 
to  appreciate  it  will  be  a  natural  outgrowth  of  this  attitude  toward  school- 
music  study. 

Xo  theoretical  details  should  be  taught  which  do  not  bear  directly  on  the 
problem  of  interpreting  the  printed  music  page  in  an  artistic  manner,  even- 
tually by  the  child's  own  power.  Contrary  to  many  individual  opinions,  the 
music  work  of  the  school  is  not  to  teach  theoretical  facts  with  an  aim  to  lessen 
the  tasks  of  private  teachers  who  may  be  teaching  instrumental  music  to  a 
small  percentage  of  the  class.  On  the  contrary,  the  teaching  of  singing,  of 
artistic  interpretation  with  beautiful  tone  quality,  should  be  the  constant 
aim  in  public-school  music. 

The  development  of  the  imagination,  of  inspiration  and  spontaneity  in 
the  expression  of  vivid,  vitalized  emotional  declamation  through  song,  is  of  the 
highest  cultural  importance.  Singing  games  and  dramatized  songs  should 
be  acted  by  some  of  the  class  while  the  other  children  are  singing,  in  order 
to  infuse  the  interpretation  with  reality.  Dramatizations,  however,  should 
not  become  so  elaborate  as  to  deflect  the  interest  of  the  children  from  the 
musical  essentials. 

Xo  singing  should  ever  be  allowed  to  lapse  into  mere  listless  mechanical 
repetition  of  songs,  to  occupy  time  while  the  teacher  is  busy  at  her  desk. 


GENERAL  SUGGESTIONS  15 

Every  singing  exercise  should  have  the  enthusiastic  cooperation  of  the 
teacher,  who  is  the  leader  of  the  children,  intellectually  and  spiritually. 
Every  phrase  should  be  sung  beautifully,  and  should  express  a  real  senti- 
ment or  emotion  felt  by  the  children.  It  is  the  mission  of  music  to  express 
feeling;  this  must  be  emphasized  if  music  is  to  come  into  full  power  in  the 
school.  The  heights  of  music  are  reached  only  in  the  expression  of  feeling; 
its  supreme  significance  is  spiritual  and  its  most  glorious  medium  is  the 
human  voice. 

IV.   THE   CHILD   VOICE 

1.  Preservation  and  Development 

Every  child  endowed  with  normal  hearing  and  a  normal  speaking  voice 
can  be  taught  to  sing.  The  characteristic  qualities  of  the  unspoiled  child- 
voice  are  its  lightness,  sweetness,  and  flexibility.  It  is  natural  that  this  should 
be  so.  The  vocal  organs  of  the  child  are  small  and  delicate  as  compared  with 
those  of  the  adult.  Any  forcing  of  this  delicate  mechanism  for  loud,  harsh 
effects  or  deep  tones  is  bound  to  cause  strain  and  will  in  many  cases  result 
in  permanent  injury.  Small,  delicate  instruments  produce  high  and  light 
tones.  Consequently  the  child  can  produce  high  tones  with  perfect  ease, 
when  these  tones  are  sung  lightly  with  little  breath  pressure.1 

The  singing  of  the  children  should  at  all  times  be  light,  sweet,  and  melo- 
dious, without  strain  or  effort.  The  use  of  coarse,  reedy  tones  is  positively 
harmful  to  the  voices  of  young  children.  Pupils  should  be  required  to  sit 
in  an  erect  yet  relaxed  position,  and  should  be  taught  how  to  take  a  deep 
breath,  as  in  smelling  an  imaginary  rose.  Encourage  the  sustaining  of  an  en- 
tire phrase  with  a  single  breath.  Defects  in  articulation  and  in  the  forming 
and  sustaining  of  vowels  should  be  corrected  by  imitation. 

Good  tone  quality  should  be  the  result  of  an  endeavor  to  express  the 
poetical  and  musical  mood  of  the  song.  The  teacher  should  appeal  to  the  in- 
stinct for  the  beautiful  by  kindling  the  imagination.  Infusing  the  spirit  of 
reality  into  the  child's  singing  of  a  lullaby,  for  instance,  will  accomplish  more 
sure  and  lasting  results  in  the  child's  artistic  use  of  the  voice  than  any 
mechanical  device.  This  is  in  accord  with  well-established  psychological  and 
pedagogical  principles. 

The  children  may  express  joy  and  happiness  in  their  singing,  but  never 
boisterousness.  The  habitual  and  mechanical  " hushing"  by  the  teacher, 
however,  only  serves  to  suppress  emotional  expression,  and  devitalizes  the 
singing  without  necessarily  improving  it.  So-called  "soft  singing"  may 
be  only  less  harmful  in  degree  than  loud  singing.  A  breathy,  hushed, 
stifled  tone  is  not  pleasing  to  the  listener,  nor  is  it  at  all  an  indication  of 
good  vocal  habits. 

1  See  Dawson,  "The  Voice  of  the  Boy." 


16  TEACHERS    MANUAL 

Songs  the  children  know  and  love  may  be  used  for  vocal  training.  The 
syllables  "loo,"  "koo,"  "no."  •may."  "me,"  "lah,"  etc.,  should  occasionally 
be  used  in  vocalizing  the  songs.  The  teacher  should  see  that  the  vowels 
are  pure  and  that  the  muscles  of  the  neck  and  face,  especially  the  jaw,  lips, 
and  tongue,  are  loose  and  relaxed.  Merely  telling  the  children  "to  relax," 
however,  will  not  secure  the  result.  The  teacher  should  sing  pure,  sweet 
tones  herself,  vocalizing  a  familiar  song.  She  should  call  attention  to  the 
free,  light,  sweet  quality  of  her  own  voice,  to  her  freedom  and  lack  of  strain 
in  producing  the  tones,  to  her  pleasant  facial  expression  and  shaping  of  the 
lips.  It  is  of  little  use  to  demand  that  the  children  sing  sweetly  if  the  teacher's 
own  singing  is  harsh,  disagreeable,  and  full  of  impurities  in  articulation  and 
enunciation.  The  power  of  imitation  is  the  child's  strongest  mental  asset. 
If  good  models  are  given  constantly,  the  child  will  soon  learn  to  imitate  them. 

One  cause  of  the  raucous,  disagreeable  quality  so  often  heard  in  children's 
singing  is  the  habitual  abuse  of  the  vocal  organs  on  the  playground.  Chil- 
dren should  be  cautioned  against  unnecessary  yelling,  screeching,  and 
shouting.  The  teacher  should  frequently  talk  to  them  on  vocal  hygiene  as 
she  does  on  the  care  of  the  other"  organs.  We  take  time  to  talk  to  the  chil- 
dren on  cleanliness,  on  the  care  of  the  teeth,  the  eyes,  etc.;  why  not  also 
on  the  importance  of  taking  care  of  the  voice?  The  possession  of  an  agree- 
able, well-modulated  speaking  voice  is  in  itself  a  desirable  asset  in  the  social 
and  in  the  business  world.  The  use  of  the  voice  in  singing  has  a  direct 
influence  upon  the  speaking  voice. 

The  teacher  should  talk  to  the  children  about  great  singers  and  the  possi- 
bility of  there  being  future  great  artists  among  her  own  little  flock.  The 
setting  up  of  ideals  and  of  ambitions  along  this  line  is  as  worthy  as  in  other 
lines.  The  use  of  the  graphophone  to  enable  the  children  to  hear  the  voices 
of  great  singers  so  as  to  inculcate  these  ideals  will  prove  of  lasting  value  and 
may  preserve  the  voices  of  future  artists  of  the  next  generation. 

2.    Special  Training  for  Less  Musical  Children 

The  children  who  have  been  found,  through  individual  tests,  to  be  sing- 
ing out  of  tune,  may  be  divided  into  four  classes.  The  skillful  teacher  will 
exercise  her  ingenuity  in  diagnosing  each  individual  case  and  in  treating  it 
according  to  its  specific  needs. 

First,  there  are  children,  by  no  means  monotones,  who,  through  lack  of 
attention  or  concentration,  are  listless  and  sluggish  in  responding  to  musical 
impressions.  It  is  only  necessary  to  arouse  the  imagination,  the  interest, 
and  the  entnusiasm  of  such  children  to  secure  that  spontaneous  attention 
which  will  soon  yield  fruitful  results.  Once  genuinely  interested,  these 
children  will  learn  to  sing  well  through  the  mere  doing  of  it. 


GENERAL  SUGGESTIONS  17 

Second,  there  are  those  who  readily  distinguish  between  songs  and  phrases 
but  who  lack  skill  in  reproducing  them.  These  pupils  hear  accurately  but 
are  deficient  in  the  ability  to  reproduce  what  they  hear.  Through  lack  of 
practice  in  the  coordination  of  the  vocal  organs  with  the  musical  idea  in 
the  mind,  through  loud,  harsh  singing  or  abuse  of  the  voice  on  the  play- 
ground, the  vocal  organs  fail  to  respond  to  the  impulse  of  the  will  to  sing. 
These  children  need  practice  in  the  voluntary  control  of  the  voice,  skillfully 
directed  and  assisted  by  the  teacher.  Faults  in  breathing  must  be  corrected, 
rigid  throats  must  be  relaxed,  defective  articulation  must  be  remedied. 
Above  all,  the  imagination  of  the  children  and  the  desire  to  sing  must  be 
aroused.    Light,  sweet  tones  must  be  given  as  models  for  them  to  imitate. 

It  is  often  the  case  that  the  singing  of  a  musical  child  in  the  class  will  be 
more  readily  imitated  than  that  of  the  teacher.  The  child  who  is  receiving 
individual  help  should  be  encouraged  to  concentrate  his  attention  upon  the 
face  of  the  one  acting  as  teacher.  A  roving  eye  is  an  indication  of  wandering 
attention. 

Third,  there  are  pupils  who  fail,  in  varying  degrees,  to  distinguish  between 
musical  ideas,  or  who  seem  to  lack  what  we  have  been  accustomed  to  call  a 
" musical  ear."  Two  general  types  may  be  included  in  this  third  class:  first, 
children  in  whom  the  tonal  sense  is  defective;  and  second,  those  deficient  in 
rhythmic  sense.    A  third  group  might  include  children  lacking  in  both. 

Some  children  recognize  certain  songs  and  fail  to  recognize  others.  These 
children  probably  possess  strong  rhythmic  sense,  and  recognize  songs  with 
strongly  marked  accents  or  characteristic  rhythms  but  fail  to  recognize  tunes 
with  a  less  accented  melody.  These  children  are  defective  in  pitch  recogni- 
tion, and  in  extreme  cases  sometimes  fail  to  recognize  a  single  song  familiar 
to  the  class,  or  even  to  distinguish  between  high  and  low  tones.  Children 
deficient  in  pitch  recognition  require  oft-repeated,  striking,  and  clear-cut 
impressions  of  bits  of  melody.  Pitch  memory,  like  memory  in  other  lines, 
will  depend  upon  the  frequency  and  recency  of  these  melody  impressions. 
An  entire  phrase  will  prove  too  long  for  their  untrained  ears  and  menfories 
to  retain.  Each  phrase  must  be  broken  up  into  motives,  or  into  figures 
embodying  elemental  tonal  relationships  which  are  sharply  defined  and 
contrasted. 

Again,  in  other  cases,  the  rhythmic  instinct  has  not  yet  been  awakened. 
Some  children  have  not  learned  to  march  in  time  to  music  or  to  keep  step 
with  their  mates.  Children  rhythmically  deficient  must  have  this  instinct 
aroused  through  marching,  skipping,  clapping,  singing  games,  folk  dancing, 
and  the  like.  The  feeling  for  rhythm,  developed  through  muscular  response 
from  the  larger  muscles  of  the  body  and  limbs,  will,  in  time,  enable  the  child 
to  control  the  finer  muscles  of  the  vocal  organs. 


18  TEACHER'S    MANUAL 

Children  kicking  the  "musical  ear"  demand  the  utmost  skill,  patience, 
and  persistence  on  the  part  of  the  teacher.  Where  possible,  time  should  be 
taken  outside  of  the  regular  music  lesson  in  order  that  the  interests  of  the 
class  may  not  suffer.  Permitting  children  to  sing  out  of  tune  or  time  with 
the  class  not  only  mars  the  class  singing  hut  tends  to  confirm  vocal  faults  into 
fixed  habits. 

Fourth)  and  finally,  there  is  the  class  of  children  who  are  abnormal  or 
physically  defective  in  the  organs  of  hearing  or  in  the  organs  of  speech  or 
both.  It  is  obvious  that  children  with  deficient  or  imperfect  hearing  should 
be  permanently  seated  in  the  front  seats  near  the  teacher. 

In  most  cases,  these  children,  as  well  as  those  suffering  from  defective 
vocal  organs,  should  be  brought  to  the  attention  of  a  medical  specialist. 
The  teacher  may  often  confer  a  lasting  favor  upon  the  child  by  calling  the 
attention  of  his  parents  to  such  defects. 

It  is  of  the  greatest  importance  that  the  teacher  should  realize  these  facts 
concerning  so-called  monotones,  -and  that  each  case  should  have  a  careful 
diagnosis  and  be  treated  for  its  specific  ailment.  The  fact  that  a  child,  does 
not  sing  in  no  wise  proves  it  to  be  unmusical.  It  is  a  well-known  fact  that 
many  famous  musicians  have  been  unable  to  sing  —  probably  for  no  other 
reason  than  that  they  never  really  attempted  to  sing.  No  one  would  think 
of  terming  such  a  musician  "unmusical."  A  so-called  monotone  may  be  the 
most  musical  child  in  the  class.  Teaching  such  a  child  how  to  sing  should  be 
counted  a  privilege  and  a  duty. 

3.   Devices  and  Material  Used  in  Treating  Monotones 

It  is  good  pedagogy  to  assume  that  the  less  musical  as  well  as  the 
talented  child  will  be  more  interested  in  learning  to  sing  a  beautiful  song  or 
a  phrase  of  that  song  than  to  be  set  apart  and  required  to  imitate  mechanical 
devices  such  as  cuckoos  or  "choo-choo"  trains,  whistles,  and  the  like,  which 
are  foreign  to  the  musical  material  studied  by  the  rest  of  the  class. 

Parry,  in  his  "Evolution  of  the  Art  of  Music/'1  shows  that  the  savages, 
in  their  earliest  attempts  at  melody  making,  hit  upon  the  skip  of  a  fourth 
or  a  fifth,  corresponding  to  do-so  or  so-do  either  rising  or  falling  from  a 
starting  tone.  The  tones  of  the  tonic  chord  are  elemental  in  nature,  and 
fundamental  in  the  musical  experience  of  the  race.  They  are  more  easily 
recognized  by  the  untrained  ear,  because  they  consist  of  the  larger  pitch 
differences,  just  as  the  untrained  eye  recognizes  the  primary  colors  before 
the  secondary  shades.  These  tones  of  the  tonic  chord  are  also  the  most 
easily  reproduced  by  the  untrained  vocal  organs,  because  they  require  less 
delicate  coordination  of  the  vocal  organs  than  tones  lying  closer  together. 
1  See  Parry,  "Evolution  of  the  Art  of  Music,"  Chapter  II. 


GENERAL   SUGGESTIONS  19 

After  the  less  musical  children  have  learned  to  sing  several  songs  based 
upon  the  tonic  chord,  they  may  attempt  songs  containing  figures  consisting 
of  tones  of  the  chord  associated  with  neighboring  tones,  as  found  in  the  songs 
of  Book  One,  Chapter  II,  such  as  do-re-do,  mi-fa-mi,  so-la-so,  do-ti-do. 

Still  later,  songs  consisting  largely  of  repeated  diatonic  figures  (like 
do-re-mi  or  mi-fa-so),  as  found  in  Chapter  III,  may  be  studied.  In  the  soni- 
of  Chapter  IV,  these  diatonic  figures  are  more  varied,  the  repetitions  comiii  5 
on  different  parts  of  the  scale,  as  do-re-mi,  re-mi-fa,  mi-fa-so.  By  the  time 
these  songs  have  been  studied  the  children  will  have  gained  considerable 
independence  and  will  be  found  prepared  for  the  songs  in  Chapter  V,  1 
which  skips  foreign  to  the  tonic-chord  skips  are  prominent. 

This  grouping  of  songs  into  chapters  according  to  melodic  characterise  < 
will  be  found  immensely  helpful  in  the  treatment  of  musically  defect  i\ 
children  as  well  as  valuable  for  other  purposes. 

It  should  be  the  constant  aim  of  the  first-grade  teacher  to  have  no  normal 
child  remaining  at  the  close  of  the  year  who  does  not  love  to  sing  or  who  is 
unable  to  sing  a  number  of  simple  songs  unassisted.  The  second-grade 
teacher  who  finds  some  monotones  still  remaining  in  her  class,  or  among 
those  pupils  newly  entered,  should  make  the  development  of  these  chil- 
dren her  first  concern.  A  child  who  is  permitted  to  pass  through  the 
third  grade  without  the  ability  to  sing  has  little  hope  of  ever  acquiring  this 
accomplishment. 

V.   RHYTHMIC   DEVELOPMENT 

Rhythmic  feeling  is  a  primitive  instinct.  Even  young  children  can  grasp 
and  imitate  complex  rhythms.  The  study  of  music  should  serve  to  stimulate 
and  develop  these  instinctive  rhythmical  feelings  and  to  bring  them  into 
conscious  organized  relationships. 

In  the  receptive  years  of  the  Sensory  Period,  we  find  the  child  peculiarly 
responsive  to  rhythmic  impressions.  This  is  the  time  to  store  his  miner*  with 
a  rich  fund  of  varied  rhythmic  experiences.  Through  imitation  he  easily 
acquires  the  power  to  express  himself  in  rhythms  which  form  the  basis  of 
his  conscious  study  during  the  remainder  of  his  school  life.  In  the  rote  songs 
of  Book  One,  therefore,  an  effort  has  been  made  to  present  practically  all  the 
rhythms  which  are  later  developed  in  the  songs  of  the  upper  books  of  the 
series. 

Beginning  with  the  second  grade,  the  rhythmic  experiences  of  the  child 
are  brought  into  fuller  consciousness  and  the  first  steps  are  taken  toward 
their  definite  organization.  Gradually  the  child  is  led  to  correlate  his  rhyth- 
mic experiences  with  their  representation  in  music  notation. 


20  TEACHER'S    MANUAL 

An  important  element  in  the  development  of  the  rhythmic  sense  is  found 
in  bodily  action.  These  actions  may  be  classified  as  rhythmic  motions, 
singing  games,  dramatizations,  and  folk  dances. 

By  '•rhythmic  motions"  is  meant  such  activities  as  marching,  skipping, 
swaying,  and  clapping  in  time  to  the  music.  These  motions  should  be  prac- 
ticed so  as  to  develop  the  feeling  for  regularly  recurring  pulses,  but  a  me- 
chanical over-stressing  of  the  measure  accents  should  be  avoided.  From  the 
beginning,  emphasis  should  be  placed  upon  the  feeling  for  the  phrase.  The 
measure  rhythm  should  be  felt  as  one  of  the  elements  of  the  broad  phrase- 
unit  rather  than  as  a  unit  in  itself. 

In  singing  games  the  actions  follow  the  suggestion  of  the  text.  Even  the 
children  with  less  highly  developed  rhythmic  sense,  who  might  find  difficulty 
in  keeping  step  to  an  instrumental  march,  will  easily  be  able  to  act  out  the 
motions  of  a  singing  game.  For  example,  in  "Good  Morning,"  Book  One, 
page  5,1  the  children  can  bow  a  greeting  to  each  other  at  each  "Good  morn- 
ing." In  "Dolly's  Lullaby,"  page  17,2  the  children  can  go  through  the  form 
of  rocking  the  child  to  sleep  by  swaying  from  side  to  side.  In  "The  Farmer," 
page  55,3  and  in  "London  Bridge,"  page  95,4  the  words  readily  suggest  the 
actions;  while  even  the  monotones  can  beat  the  drum  in  "My  Big  Bass 
Drum,"  page  110,  in  perfect  time  and  with  great  gusto. 

A  large  number  of  the  songs  in  Book  One  lend  themselves  admirably  to 
dramatization.  From  a  rhythmic  standpoint,  these  may  often  be  the  only 
means  of  reaching  the  least  musical  children.  A  child  who  follows  the  dra- 
matic suggestion  of  the  text  is  experiencing  some  relationship  between  the  flow 
of  the  song  and  its  expression  in  action.  For  example,  in  "Betty  and  Billy," 
Book  One,  page  26,5  each  stanza  suggests  a  different  action,  and  the  child  who 
follows  the  dramatic  suggestion  by  acting  it  —  no  matter  how  simply  —  has 
his  attention  called  to  the  periodic  recurrence  of  a  melody  as  divided  by  the 
stanzas. 

The  folk  dance  combines  in  artistic  forms  all  the  several  types  of  rhyth- 
mic action  already  mentioned.  A  period  or  a  complete  melody  accompanies 
an  entire  cycle  of  dance  figures.  Each  phrase  of  the  melody  is  accompanied 
by  a  characteristic  movement  of  the  dance,  and,  as  a  rule,  recurring  phrases 
of  the  melody  indicate  a  recurrence  of  the  dance  figure.  The  measure  accent 
often  indicates  the  character  of  the  steps,  which  are  usually  timed  with  the 
beats.  Gestures  and  movements  of  the  hands,  arms,  head,  or  body  are  also 
in  time  with  the  measure  accents  or  the  beats,  and  not  infrequently  several 
different  rhythms  are  expressed  simultaneously. 

1  Teacher's  Manual,  page  ls7.  3  Teacher's  Manual,  page  220. 

2  Teacher's  Manual,  page  197.  4  Teacher's  Manual,  page  238. 

•  Teacher's  Manual,  page  203. 


GENERAL   SUGGESTIONS  21 

The  melodies  of  the  folk  dances  have  rhythmic  characteristics  in  common 
with  the  songs  which  the  children  are  studying.  From  the  beginning  the 
children  should  be  led  to  observe  in  their  song  studies  points  of  rhythmic 
similarity  to  their  folk  dances  and  singing  games.  This  will  bring  about  a 
recognition,  not  only  of  the  larger  rhythmic  units  of  phrase  and  measure,  but 
also  of  beats  and  divisions  of  beats.  This  experience  may  be  applied  first  in 
ear  training  and  later  in  the  study  of  notation. 

Because  of  the  educational  value  of  folk  dances  and  singing  games  in  the 
development  of  the  rhythmic  instinct,  Book  One  offers  a  number  of  singing 
games,  and  Part  Three  of  this  Manual  is  devoted  to  the  subject  of  folk  dances. 
In  this  section  are  given  a  number  of  widely-used  folk  dances  with  full  direc- 
tions for  teaching  them.  The  section  also  includes  directions  for  playing  the 
singing  games  of  Book  One. 


First  Grade  —  Syllabus 

I.  TEACHING    OF   ROTE    SONGS 

1.  To  introduce  music  to  the  children 

2.  To  provide  musical  experience 

(a)  Through  art  songs 

(b)  Through  observation  songs 

3.  To  develop  the  ability  to  sing 

(a)    Training  of  the  ear 
(6)    Use  of  the  voice 

(c)  Special  training  of  monotones 

II.  RHYTHMIC   DEVELOPMENT 

1 .  Through  rote  songs 

2.  Through  action 

(a)  Rhythmic  motions 

(6)  Singing  games 

(cj  Dramatizations 

(d)  Folk  dances 

m.    SPECIFIC   WORK   IN   EAR   TRAINING 

1.  Singing  songs  with  "loo"  or  other  neutral  syllable 

2.  Recognition  of  phrase  repetition 

3.  Application  of  so-fa  syllables 

(a)   To  provide  a  definite  mental  association  for  ideas 

expressed  in  tonal  relations 
(6)    To  establish  feeling  for  tonality 

(c)  As  a  test  of  discriminating  between  similar  ideas 

(d)  As  an  aid  later  in  sight  reading 


22 


PART  TWO 
GRADED   OUTLINES 

First   Geade  —  Introduction 

1.  TEACHING   OF  ROTE   SONGS 
1.  To  Introduce  Music  to  the  Children 

The  first  aim  in  the  development  of  music  is  to  arouse  the  children's  in- 
terest in  music.  To  this  end,  on  the  first  day,  several  songs  should  be  sung 
for  the  children;  if  a  phonograph  is  available,  several  suitable  selections 
should  be  played  for  them.  A  few  singing  games  should  be  introduced,  the 
teacher  singing  the  song  and  the  children  playing  the  game. 

During  the  first  few  days  the  children  should  not  be  urged  to  take  part 
in  the  singing.  Gradually  they  will  come  to  feel  that  music  is  a  delightful, 
a  joyous  thing,  a  recreation,  an  inspiration.  After  a  day  or  two  they  will 
begin  to  sing  with  the  teacher,  with  a  natural  desire  to  express  themselves. 
This  awakening  of  an  interest  in  music,  the  developing  of  an  intense  love  of 
it  and  a  desire  to  take  part  in  the  singing,  is  a  fundamental  feature  of  any 
successful  plan  of  music  instruction. 

When  interest  in  music  has  been  aroused,  the  teacher  may  proceed  to  a 
more  formal  presentation  of  rote  songs.  She  should  carefully  read  the  chapter 
of  general  suggestions  for  a  detailed  treatment  of  this  topic. 

2.  To  Provide  Musical  Experience 

The  second  aim  in  the  teaching  of  rote  songs  is  to  provide  the  children 
with  musical  experience  which  shall  serve  as  a  basis  for  further  development. 
The  art  songs  are  intended  to  serve  as  mediums  for  expressing  feeling.  T/he 
play  instincts,  the  various  human  emotions  —  imagination,  impersonation, 
or  dramatization  —  all  find  a  natural  means  of  expression  in  these  songs. 

The  observation  songs,  of  simpler  character  than  the  art  songs,  serve  the 
same  purpose.  In  addition  they  are  intended  to  provide  material  through 
which  the  child's  experience  with  musical  ideas  is  to  be  gained  —  that  is,  a 
musical  vocabulary  which  is  to  be  used  in  the  development  of  a  definite 
knowledge  of  music. 

The  presentation  of  the  observation  songs  should  in  no  wise  differ  from 
that  of  the  art  songs.  The  observation  songs  are  quite  as  expressive  of  child 
thought  and  feeling,  and  serve  equally  well  for  their  interpretation. 

23 

T.  U.  Vol.  1-3 


24  TEACHER'S  MANUAL 

3.   To  Develop  the  Ability  to  Sing 

These  rote  songs  furthermore  provide  the  material  necessary  for  the  devel- 
opment of  the  ability  to  sing.  In  order  to  sing  well,  it  is  first  necessary  to 
hear-  well.  The  ear  is  trained  to  distinguish  between  songs  differing  in  rhyth- 
mic and  melodic  characteristics;  it  is  trained  to  differentiate  between  phrases 
in  the  same  sting. 

Closely  associated  with  the  training  of  the  ear,  in  fact  coordinating  with  it 
(as  recent  psychological  researches  have  shown1),  is  the  training  of  the  voice 
to  reproduce  accurately  what  the  ear  has  heard.  The  stimulus,  involving  the 
appeal  of  a  musical  phrase  to  the  ear,  and  the  reaction  or  response,  involving 
the  use  of  the  voice  to  reproduce  the  effect,  complete  the  cycle  of  imitation, 
which  we  call  "singing  by  rote." 

For  more  detailed  suggestions  concerning  these  topics  and  the  treatment 
of  monotones,  the  teacher  is  referred  to  the  General  Suggestions  preceding 
this  chapter. 

II.   RHYTHMIC   DEVELOPMENT 

1.  Through  Rote  Songs 

2.  Through  Action 

(a)  Rhythmic  motions 

(b)  Singing  games 

(c)  Dramatizations 

(d)  Folk  dances 

For  a  detailed  discussion  of  this  topic  the  teacher  is  referred  to  the 
General  Suggestions,  page  19,  of  this  Manual. 

Material  and  directions  for  singing  games  and  folk  dances  will  be  found 
in  Part  Three,  page  103. 

III.    SPECIFIC   WORK   IN   EAR   TRAINING 

The  development  of  a  vocabulary  of  musical  thoughts  or  ideas,  represented 
by  phrases  and  by  their  constituent  parts,  motives  and  figures,  and  organized 
with  regard  to  their  characteristic  use  in  good  musical  forms,  is  a  basic  and 
fundamental  necessity  in  this  scheme  of  music  education. 

1.   Singing  Songs  with  "loo"  or  Other  Neutral  Syllable 

Beginning  with  the  sixth  month,  with  a  half-year's  experience  in  singing 
songs  with  words,  the  attention  of  the  children  is  directed  to  the  purely 
musical  aspects  of  the  songs  by  singing  them  with  loo  or  some  other  neutral 

1  See  "Psychological  Monographs,"  Vol.  XVI,  No.  3. 


FIRST  GRADE  —  INTRODUCTION  25 

syllable.  One  purpose  of  this  work  is  to  develop  the  ability  to  sustain  a  melody 
without  depending  upon  the  word  associations;  another  purpose  is  to  develop 
a  feeling  for  the  phrase  as  a  distinct  and  natural  division  of  the  song  —  as  a 
unit  more  or  less  complete  in  itself,  as  the  poetic  line  may  be  felt  to  be  a  unit 
within  the  stanza. 

2.  Recognition  of  Phrase  Repetition 

In  close  connection  with  the  ability  to  recognize  a  phrase  as  such,  comes 
the  power  to  recognize  the  literal  repetition  of  a  phrase  within  the  song.  The 
repetition  of  the  phrase  may  or  may  not  be  accompanied  with  the  repetition 
of  the  words  used  for  the  first  appearance  of  the  phrase.  In  fact,  the  singing 
with  loo  is  intended  to  divert  the  minds  of  the  children  from  the  text,  and  to 
encourage  the  discriminating  exercise  of  the  ear  in  comparing  musical  phrases 
without  the  help  of  words. 

Five  Pedagogical  Steps 

The  following  steps  in  developing  this  recognition  of  phrase  repetition  are 
suggested : 

1.  Teacher  sings  first  phrase,  the  children  the  second,  alternating  through 

to  the  end  of  the  song. 

2.  Children  sing  phrases  by  rows,  each  row  singing  one  phrase. 

3.  Individual  children  sing,  each  child  singing  one  phrase. 

4.  In  songs  in  which  a  phrase  is  repeated,  the  teacher  first  sings  the  phrase 

with  loo;  the  children  respond  by  singing  the  several  lines  of  text 
which  are  set  to  the  given  melody. 

5.  Children  tell  number  of  phrases  in  the  song,  and  which  of  them  are 

alike,  thus:  "The  first  and  second  phrases  sound  alike,"  or  "The  first 
and  third  phrases  sound  alike,"  noting  all  the  repetitions  as  they 
occur  in  the  song. 

Note.  As  an  aid  to  the  children's  memory,  the  device  of  placing  upon  the  board 
a  numbered  curved  line  for  each  phrase  is  suggested,  thus: 


26  TEACHER'S   MANUAL 

3.  Application  of  so-fa  Syllables 

Beginning  with  the  sixth  month  two  familiar  songs  are  assigned  for  each 
month  to  which  the  so-fa  syllables  are  to  be  taught  as  a  final  stanza,  by  imita- 
tion.   The  purpose  of  this  step  is  fourfold. 

(a)  To  provide  a  definite  >u<  ntal  association  for  ideas  expressed  in  tonal  relations 

The  association  of  a  group  of  syllables,  as  do-do-mi-so-do  with  the  melody 
"Good  morning  to  you,"  Book  One,  page  5,1  for  instance,  provides  a  definite 
name,  or  tone-word,  for  a  distinct  musical  idea.  Contrast  this  with 
la-so-fa-re-do  for  the  phrase  "To  start  a  new  day."  That  the  child  should' 
have  a  definite  means  of  expressing  tonal  ideas  seems  as  necessary  as  that 
he  should  have  definite  words  to  express  the  concept  "horse"  or  "cow." 
The  syllables  help  the  mind  to  recall  the  phrase,  and  to  distinguish  it  from 
other  phrases. 

Especially  is  this  true  when  phrases  differ  from  each  other  by  only  a  few 
tones,  as  in  the  second  and  fourth  phrases  of  "Fido  and  His  Master,"  Book 
One,  page  7,2  where  we  find  so-do-so-mi-do-mi-re  and  so-do-so-mi-do-re-do. 
In  "Lady  Bug,"  Book  One,  page  18,3  the  first  three  figures  are  similar  but  not 
identical;  mi-fa-mi  helps  to  fix  the  idea  "one  half  step  up  and  back,"  while 
so-la-so  or  do-re-do  helps  to  fix  the  idea  "a  whole  step  up  and  back."  It  is 
neither  necessary  nor  advisable  to  explain  this  to  the  children.  Nevertheless 
their  response  with  the  syllables  mi-fa-mi  absolutely  determines  the  figure  as 
the  first,  and  clearly  distinguishes  it  from  the  second  or  the  third  figure  in 
the  phrase. 

(6)  To  establish  feeling  for  tonality 

The  use  of  the  syllables  helps  to  establish  a  feeling  for  tonality.  The 
major  triads  do-mi-so:  so-ti-re,  and  fa-la-ao,  when  severed  from  their  song 
relationship  and  sung  with  loo,  are  identical  in  effect.  Nevertheless  the  con- 
tinuous use  of  the  syllables  do-do-mi-so-do,  as  in  "Good  Morning,"  tends  to 
establish  the  feeling  for  the  tonic  chord  which  decides  the  tonality  of  the  piece 
and  on  which  our  tonal  bearing,  or  sense  of  melodic  direction,  depends. 

If  the  above  melody  occurred  in  the  key  of  A  flat  the  syllables  for  the  same 
notes  would  read  so-so-ti-re-so,  and  the  ear  would  demand,  sooner  or  later, 
the  use  of  the  tonic  harmony.  If  sung  with  a  neutral  syllable  this  phrase 
might  be  conceived  in  either  E  flat  or  A  flat.  Singing  it  with  the  syllables  df 
the  key  of  E  flat  fixes  the  tonality  of  that  key,  which  is  the  result  desired. 

It  is  no  more  necessary  to  explain  this  theoretically  when  the  child  is 
developing  a  feeling  for  tonality  than  it  is  to  explain  that  "cat"  is  a  noun  and 

1  Teacher's  Manual,  page  187.  2  Teacher's  Manual,  page  188. 

3  Teacher's  Manual,  page  198. 


FIRST  GRADE  —  INTRODUCTION  27 

"run"  is  a  verb  when  the  child  is  learning  to  express  the  thought,  "The 
cat  can  run."  It  is  the  association  that  is  set  up»in  the  child's  mind  that  is 
valuable. 

(c)  As  a  test  of  discriminating  between  similar  ideas 

The  teacher  must  know  definitely  what  the  child  is  thinking.  When  the 
child  applies  the  syllables  the  teacher  may  be  positive  that  he  appreciates  the 
tonal  relations  which  the  syllables  express.  Take  as  an  illustration  "Valen- 
tine Song/'  Book  One,  pages  46  and  47. l  On  page  47,  we  find  three  similar 
figures,  each  descending  along  a  chord  track.  The  first,  so-mi-do,  is  a  major 
triad;  the  second,  fa-re-ti,  is  a  diminished  triad;  the  third,  mi-do-la,  is  a 
minor  triad.  Each  tone-word  of  three  syllables  is  definitely  associated  with  a 
distinct  idea  in  melody  or  harmony.  When  the  teacher  sings  the  first  figure 
with  loo  and  the  child  responds  accurately  with  the  tone-word,  so-mi-do,  the 
teacher  may  be  sure  that  the  child  is  thinking  of  the  first  figure,  and  not 
possibly  of  the  third. 

(d)  As  an  aid  later  in  sight  reading 

What  has  been  said  regarding  the  use  of  syllables  under  the  last  three 
headings  in  connection  with  their  value  in  ear  training  applies  equally  to 
their  value  later  in  the  training  of  the  eye  to  recognize  familiar  tone-words 
from  the  notation,  and  consequently  in  the  developing  of  the  power  to  read 
new  songs  at  sight. 

Because  syllables  give  a  definite  name  to  tone  relationships  their  use  will 
greatly  facilitate  the  recording  of  musical  thoughts  in  notation. 

Use  of  the  Monthly  Outlines 

The  following  Monthly  Outlines  provide  definite  song  material  for  each 
school  month  with  directions,  where  they  are  considered  necessary,  for  the 
specific  work  at  hand.  These  outlines  are  by  no  means  intended  to  limit  the 
work  of  the  teacher  or  to  be  considered  as  inflexible.  They  are  merely  sugges- 
tive, and  prescribe  the  minimum  amount  of  work  to  be  accomplished.  The 
supervisor  or  the  grade  teacher  may  feel  free  to  teach  additional  songs  of 
acknowledged  merit  from  other  sources  and  to  substitute  songs,  especially 
those  pertaining  to  seasons,  in  place  of  any  of  the  art  songs  here  outlined. 

1  Teacher's  Manual,  page  216. 


First  Grade  —  Monthly   Outlines 

FIRST    MONTH 
I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)  Good  Morning;  Book  One,  page  5.    Teacher's  Manual,  page  187. 

(6)  A  Good-by  Song;  Book  One,  page  6.    Teacher's  Manual,  page  188. 

(c)  Fido  and  His  Master;  Book  One,  page  7.    Teacher's  Manual,  page  188. 

(d)  Polly's  Bonnet;  Book  One,  page  7.    Teacher's  Manual,  page  189. 
(c)  When  Mother  Sings;  Teacher's  Manual,  page  129. 

(/)    How   Many    Days  has   my   Baby    to   Play;     Teacher's    Manual, 
page  130. 

For  method  of  presenting  rote  songs,  treatment  of  children's  voices, 
monotones,  and  kindred  matters,  see  Generd  Suggestions.  The  following  out- 
line of  steps  in  teaching  rote  songs  may  be  found  helpful: 

1.  Presentation  of  song  so  as  to  arouse  interest  and  create  atmosphere. 

2.  Teacher  sings  entire  song. 

3.  Teacher  sings  first  phrase;  children  imitate. 

4.  Teacher  sings  second  phrase;  children  imitate. 

5.  Teacher  joins  the  two  phrases;  children  imitate. 

6.  Remaining  phrases  learned  in  same  manner. 

7.  Teacher  sings  entire  stanza,  to  give  new  idea  of  the  whole  with  its 

combined  parts. 

8.  Children  sing  entire  stanza. 

9.  Words  of  remaining  stanzas  taught. 

10.   Accompaniment  added,  if  an  instrument  is  available. 

Note.     A  musical  phrase  generally  corresponds  to  a  line  of  the  song-poem. 

SECOND    MONTH 
I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)  The  Postman;  Book  One,  page  8.     Teacher's  Manual,  page  190. 

(6)  Bubbles;  Book  One,  page  9.     Teacher's  Manual,  page  189. 

(c)  Cherries;  Book  One,  page  10.     Teacher's  Manual,  page  191. 

(d)  Twinkling    Fireflies;     Book    One,    page    11.      Teacher's    Manual, 

page  192. 

(e)  The  Man  in  the  Moon;  Teacher's  Manual,  page  131. 
(/)    Choo-choo-choo;  Teacher's  Manual,  page  132. 

28 


FIRST   GRADE  —  MONTHLY  OUTLINES  29 

THIRD    MONTH 

I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)  Ring  a  Ring  o'  Roses;  Book  One,  page  12.  Teacher's  Manual,  page  193. 

(6)  Little  Brook;  Book  One,  page  12.     Teacher's  Manual,  page  193. 

(c)  A  Little  Lady;  Book  One,  page  13.     Teacher's  Manual,  page  194. 

(d)  The  Parade;  Book  One,  page  14.     Teacher's  Manual,  page  195. 

(e)  The  Little  Seeds;  Teacher's  Manual,  page  133. 
(/)  Afternoon  Tea;  Teacher's  Manual,  page  139. 

FOURTH   MONTH 
I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)    The  Holiday;  Book  One,  page  15.     Teacher's  Manual,  page  195. 
(6)    Whippoorwill;  Book  One,  page  16.     Teacher's  Manual,  page  196. 

(c)  Dolly's  Lullaby;  Book  One,  page  17.     Teacher's  Manual,  page  197. 

(d)  Lady  Bug;  Book  One,  page  18.     Teacher's  Manual,  page  198. 
0)    The  Hall  Clock;  Teacher's  Manual,  page  134. 

(/)    A  Telephone  Message;  Teacher's  Manual,  page  136. 

FIFTH    MONTH 
I.  Rote  Songs.    Teach  by  rote  the  following  songs : 

(a)  The  Song  Sparrow's  Toilet;  Book  One,  page  19.     Teacher's  Manual, 

page  197. 

(b)  The  Gypsy  Peddler;  Book  One,  page  20.  Teacher's  Manual,  page  199. 

(c)  The  Mulberry  Bush;  Book  One, page  21.  Teacher's  Manual,  page  199. 

(d)  Soldier  Boys;  Book  One,  page  22.     Teacher's  Manual,  page  201. 

(e)  Indian  Song;  Teacher's  Manual,  page  136. 
(/)    Frosting;  Teacher's  Manual,  page  137. 

SIXTH    MONTH 
I.  Rote  Songs.    Teach  by  rote  the  following  songs :  > 

(a)    A  Surprise;  Book  One,  page  24.     Teacher's  Manual,  page  200. 
(6)    Upon  a  Morning  Sunny;  Book  One,  page  25.    Teacher's  Manual, 
page  202. 

(c)  Betty  and  Billy;  Book  One,  page  26.     Teacher's  Manual,  page  203. 

(d)  The  Skipping  Rope;  Book  One,  page  27.   Teacher's  Manual,  page  204. 

(e)  Oh,  What  a  Sweet  Little  White  Mouse;  Book  One,  page  28.    Teach- 

er's Manual,  page  204. 
(J)    My  Beautiful  Doll;  Teacher's  Manual,  page  138. 
(g)    A  February  Song;  Teacher's  Manual,  page  140. 


30  TEACHER'S   MANUAL 

II.  Singing  with  Neutral  Syllable.     Sing  the  following  songs  with  loo,  or  some 
other  neutral  syllable : 

All  the  songs  in  Book  One,  Chapter  One. 

(See  Introduction  to  First  Grade,  Step  III,  page  24.) 

III.  Recognition  of  Phrase  Repetition.     The  following  songs,  which  have  pre- 

viously been  sung  with  some  neutral  syllable,  should  be  reviewed 
for  the  study  of  phrase  repetition: 

(a)  Good  Morning;  Book  One,  page  5.     Teacher's  Manual,  page  187. 

(6)  A  Good-by  Song;  Book  One,  page  6.     Teacher's  Manual,  page  188. 

(c)  Fido  and  His  Master;  Book  One,  page  7.    Teacher's  Manual,  page  188. 

(d)  Polly's  Bonnet;  Book  One,  page  7.    Teacher's  Manual,  page  189. 

(e)  The  Postman;  Book  One,  page  8.    Teacher's  Manual,  page  190. 

(See  Introduction  to  First  Grade,  Step  III,  section  2,  page  25.) 

IV.  Application  of  Syllables.      Teach    the   so-fa    syllables   for    the   following 

songs : 

(a)  Good  Morning;  Book  One,  page  5.     Teacher's  Manual,  page  187. 

(b)  A  Good-by  Song;  Book  One,  page  6.     Teacher's  Manual,  page  188. 

Note.  The  syllables  for  the  songs  outlined  are  to  be  taught  by  rote,  as  a  final 
stanza;  the  children  should  be  led  to  observe  that  recurring  phrases  are  sung  to  the 
same  syllables.  In  singing  with  the  syllables  the  rate  of  speed  required  for  the  artistic 
performance  of  a  song  should  be  carefully  maintained.  See  also  Introduction  to 
First  Grade,  Step  III,  section  3,  page  26. 


SEVENTH   MONTH 

I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)  The  Swallows;  Book  One,  page  29.     Teacher's  Manual,  page  205. 

(b)  The  Clown;  Book  One,  page  30.     Teacher's  Manual,  page  206. 

(c)  Little  Sister's  Lullaby;  Book  One,  page  31.    Teacher's  Manual,  page 

206. 

(d)  Evening  Lights;  Book  One,  page  32.     Teacher's  Manual,  page  207. 

(e)  The  Circus;  Book  One,  page  33.     Teacher's  Manual,  page  208. 
(/)    Prince  Finikin;  Teacher's  Manual,  page  141. 

(g)    Ride  a  Cock  Horse;  Teacher's  Manual,  page  142. 

II.  Singing  with  Neutral  Syllables.     (See  Sixth  Month,  Step  II.) 

All  the  songs  in  Book  One,  Chapter  II. 


FIRST  GRADE  —  MONTHLY   OUTLINES  31 

HI.  Recognition  of  Phrase  Repetition.     (See  Sixth  Month,  Step  III.) 

(a)  Bubbles;  Book  One,  page  9.     Teacher's  Manual,  page  189. 

(b)  Cherries;  Book  One,  page  10.     Teacher's  Manual,  page  191. 

(c)  Twinkling  Fireflies;  Book  One,  page  11.    Teacher's  Manual,  page  192. 

(d)  Ring  a  Ring  o'  Roses;  Book  One,  page  12.    Teacher's  Manual,  page 

193. 

(e)  Little  Brook;  Book  One,  page  12.     Teacher's  Manual,  page  193. 

IV.  Application  of  Syllables.     (See  Sixth  Month,  Step  IV.) 

(a)  Fido  and  His  Master;  Book  One,  page  7.    Teacher's  Manual,  page  188. 

(b)  Polly's  Bonnet;  Book  One,  page  7.    Teacher's  Manual,  page  189. 

EIGHTH  MONTH 

I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)  Dandelion;  Book  One,  page  34.     Teacher's  Manual,  page  208. 

(6)  Kind  Old  Winter;  Book  One,  page  35.     Teacher's  Manual,  page  209. 

(c)  Playing  Soldier;  Book  One,  page  36.     Teacher's  Manual,  page  209. 

(d)  Lady  Moon;  Book  One,  page  37.     Teacher's  Manual,  page  210. 

(e)  Garden  Song;  Teacher's  Manual,  page  143. 
(/)  The  Wild  Geese;  Teacher's  Manual,  page  144. 

II.  Singing  with  Neutral  Syllables.     (See  Sixth  Month,  Step  II.) 
All  the  songs  in  Book  One,  Chapter  III. 

III.  Recognition  of  Phrase  Repetition.     (See  Sixth  Month,  Step  III.) 

(a)  A  Little  Lady;  Book  One,  page  13.    Teacher's  Manual,  page  194. 

(6)  The  Parade;  Book  One,  page  14.     Teacher's  Manual,  page  195. 

(c)  The  Holiday;  Book  One,  page  15.     Teacher's  Manual,  page  195. 

(d)  Whippoorwill ;  Book  One,  page  16.     Teacher's  Manual,  page  196. 

(e)  Dolly's  Lullaby;  Book  One,  page  17.     Teacher's  Manual,  page  197. 

IV.  Application  of  Syllables.    Teach  syllables  to  these  songs: 

(a)   The  Postman;  Book  One,  page  8.    Teacher's  Manual,  page  190. 
(6)    Bubbles;  Book  One,  page  9.     Teacher's  Manual,  page  189. 

Note.  The  teacher  sings  the  syllables  at  the  first  appearance  of  each  phrase,  the 
children  learning  the  syllables  by  rote.  Whenever  a  phrase  is  repeated  later  in  the 
song,  the  children,  recognizing  the  repetition  and  knowing  that  the  recurrence  of 
the  phrase  demands  a  repetition  of  the  syllables,  are  themselves  to  apply  the  sylla- 
bles. From  this  point  on,  in  studying  the  application  of  syllables,  the  teacher  en- 
courages  the  children  to  greater  independence  in  applying  the  syllable  names.  Indeed 
they  will  soon  acquire  the  ability  to  apply  the  syllables  to  other  familiar  melodies  on 
their  own  initiative. 


32  TEACHER'S  MANUAL 

NINTH  MONTH 

I.  Rote  Songs.    Teach  by  rote  the  following  songs: 

(a)   The  Little  Huntsman;  Book  One,  page  38.    Teacher's  Manual,  page 

210. 
(6)    Kittens;  Book  One,  page  39.     Teacher's  Manual,  page  211. 

(c)  False  Alarm;  Book  One,  page  40.     Teacher's  Manual,  page  212. 

(d)  Snowflakes;  Book  One,  page  41.     Teacher's  Manual,  page  212. 

(c)    Sleep,  Little  Treasure;    Book  One,   page  42.     Teacher's  Manual, 

page  213. 
(/)    Dandelion,  Yellow  as  Gold;  Teacher's  Manual,  page  147. 
(g)    Little  Miss  Patty  and  Master  Paul;  Teacher's  Manual,  page  145. 

II.  Singing  with  Neutral  Syllables.     (See  Sixth  Month,  Step  II.) 

All  the  songs  in  Book  One,  Chapter  IV. 

III.  Recognition  of  Phrase  Repetition.     (See  Sixth  Month,  Step  III.) 

(a)    Lady  Bug;  Book  One,  page  18.     Teacher's  Manual,  page  198. 
(6)    The  Song  Sparrow's  Toilet;  Book  One,  page  19.    Teacher's  Manual, 
page  197. 

(c)  The  Gypsy  Peddler;  Book  One,  page  20.  Teacher's  Manual,  page  199. 

(d)  The  Mulberry  Bush;  Book  One,  page  21.  Teacher's  Manual,  page  199. 

(e)  Soldier  Boys;  Book  One,  page  22.     Teacher's  Manual,  page  201. 

IV.  Application  of  Syllables.     (See  Eighth  Month,  Step  IV.)     Apply  syllables 

to  these  songs: 

(a)    Cherries;  Book  One,  page  10.     Teacher's  Manual,  page  191. 
(6)    The  Holiday;  Book  One,  page  15.     Teacher's  Manual,  page  195. 

TENTH  MONTH 
I.  Rote  Songs.    Teach  by  rote  the  following  songs : 

(a)  Bylo,  Baby  Bunting ;  Book  One,  page  43.  Teacher's  Manual,  page  214. 

(b)  In  Wooden  Shoes;  Book  One,  page  44.     Teacher's  Manual,  page  214. 

(c)  Raindrops;  Book  One,  page  45.     Teacher's  Manual,  page  215. 

(d)  Valentine  Song;  Book  One,  page  46.     Teacher's  Manual,  page  216. 

(e)  Will  You  Come  with  Me;  Book  One,  page  48.     Teacher's  Manual, 

page  217. 
(/)    The  Greedy  Mouse;  Teacher's  Manual,  page  146. 
(g)    Mathematics;  Teacher's  Manual,  page  149. 


FIRST   GRADE  —  MONTHLY   OUTLINES  33 

II.  Singing  with  Neutral  Syllables.     (See  Sixth  Month,  Step  II.) 
All  the  songs  in  Book  One,  Chapter  V. 

III.  Recognition  of  Phrase  Repetition.     (See  Sixth  Month,  Step  III.) 

(a)  A  Surprise;  Book  One,  page  24.    Teacher's  Manual,  page  200. 

(6)    Upon  a  Morning  Sunny;  Book  One,  page  25.     Teacher's  Manual, 
page  202. 

(c)  Betty  and  Billy;  Book  One,  page  26.     Teacher's  Manual,  page  203. 

(d)  The  Skipping  Rope;  Book  One,  page  27.  Teacher's  Manual,  page  204. 

(e)  Oh,  What  a  Sweet  Little  White  Mouse;  Book  One,  page  28.    Teach- 

er's Manual,  page  204. 

IV.  Application  of  Syllables.    (See  Eighth  Month,  Step  IV.)     Apply  syllables 

to  these  songs: 

.   (a)    Dolly's  Lullaby;  Book  One,  page  17.    Teacher's  Manual,  page  197. 

(b)  Lady  Bug;  Book  One,  page  18.     Teacher's  Manual,  page  198. 


Second  Grade  —  Syllabus 

I.   TEACHING    OF   ROTE    SONGS 

1.  For  inspiration 

2.  For  development  of  musical  feeling  and  artistic  expression 

3.  For  expansion  of  children's  musical  experience  and  vocabulary 

II.    RHYTHMIC   DEVELOPMENT 

(a)  Through  rote  songs 
(6)   Through  singing  games 
(c)   Through  folk  dances 

III.  SPECIFIC  WORK  IN  EAR  TRAINING  (Book  One,  Part  One) 

1.  Singing  songs  with  neutral  syllable  (Review) 

2.  Recognition  of  phrase  repetition  (Review) 

3.  Application  of  so-fa  syllables  (Part  review) 

4.  Recognition  of  motives  and  figures  (New  work) 

rV.    PRESENTATION   OF    FAMILIAR   SONGS   IN   STAFF  NOTATION 
(Book  One,  Part  One)     Specific  Work  in  Eye  Training 

1.  Observing  representation  of  an  entire  familiar  song 

2.  Recognition  of  familiar  phrases  by  position  in  the  song 

3.  Recognition  of  motives  and  figures  by  position  in  the  song 

4.  Drills  in  independent  recognition  of  motives  and  figures 

Signatures  and  Rhythmic  Notation 

V.   READING  NEW  SONGS  FROM  STAFF  NOTATION    (Book   One, 
Part  Two,  Chapters  VI  and  VII) 

1.  Preliminary  study 

(a)    Scansion  of  song-poem  in  concert  to  get  the  rhythmic  flow 

of  the  phrases 
(6)    Comparison  of  phrases  with  phrases  rhythmically  similar 

in  familiar  songs 

2.  Study  of  the  first  phrase 

(a)    Recognition  of  familiar  figures 

(6)    Teaching  unfamiliar  figures  by  rote 

(c)    Singing  first  phrase  with  syllables,  with  loo,  and  with  words 

3.  Finding  and  singing  repetitions  of  the  first  phrase,  if  any 

4.  Similar  study  of  remaining  phrases  and  their  repetitions,  if  any 

5.  Singing  of  entire  song  with  words;  memorization 

34 


Second   Grade  —  Introduction 

In  many  instances  the  second-grade  teacher  will  find  that  her  class  is  not 
the  same  as  that  which  left  the  first  grade  at  the  close  of  the  first  year.  Many 
of  the  songs,  as  well  as  correct  habits  in  singing  them,  will  have  been  forgotten 
during  the  summer  vacation.  Nevertheless  the  work  of  the  previous  year  is 
not  lost,  but  lies  in  the  child's  subconscious  mind,  ready  to  awaken  at  the 
proper  stimulus. 

The  teacher's  first  efforts  should  be  to  unify  her  class.  The  songs  of  the 
previous  grade  should  be  reviewed.  Faults  of  speech  and  in  singing  should 
be  corrected. 

Careful  attention  should  be  paid  to  monotones.  No  child  who  is  in  pos- 
session of  normal  hearing  and  of  normal  vocal  organs  should  be  left  unable 
to  sing  at  the  close  of  the  year. 

I.   TEACHING   OF   ROTE   SONGS 
1.  For  Inspiration 

The  teaching  of  many  beautiful  rote  songs  still  constitutes  a  large  part  of 
the  work.  These  art  songs  are  meant  to  inspire  and  sustain  interest,  and  to 
encourage  free  expression. 

The  children  must  feel  that  new  wonders  and  new  joys  in  the  musical 
world  are  constantly  unfolding  to  them.  They  must  look  forward  to  the 
music  lesson  with  delight.  The  art  side  of  music,  in  brief,  must  not  be  sacrificed 
for  the  technical  side. 

2.  For  Development  of  Musical  Feeling  and  Artistic  Expression 

The  teacher  should  constantly  strive  to  secure  more  artistic  expression 
and  a  more  beautiful  tone  quality  than  was  possible  in  the  previous  grade. 
In  fact,  no  singing  exercise  should  be  allowed  to  lapse  into  listless  or  mechanical 
repetition  merely  to  occupy  time  while  the  teacher  works  at  her  deskf  On 
the  contrary,  the  singing  should  always  be  spontaneous  and  alive  with  interest 
and  dramatic  expression.  With  each  repetition  a  new  ideal  in  artistic  inter- 
pretation should  be  realized. 

Incorrect  vocal  habits,  faults  in  articulation,  inaccuracies  in  reproducing 
melodies  should  be  remedied  by  substitution  rather  than  by  negation.  Beau- 
tiful expression  with  agreeable  tone  quality  should  come  as  a  result  of  feeling 
or  sensing  the  mood  or  atmosphere  of  the  song  rather  than  by  any  mechanical 
suggestion  of  loudness  or  softness.  Expression  should  come  from  the  heart 
rather  than  from  the  head. 

35 


36  TEACHER'S   MANUAL 

3.   For  Expansion  of  Children's  Musical  Experience  and  Vocabulary 

Finally,  the  art  songs,  rich  in  content  and  variety,  tend  to  broaden  the 
children's  musical  experience  and  to  add  definitely  to  their  vocabulary  of 
musical  ideas.  These  ideas  will  probably  be  gained  only  subconsciously,  but 
they  will  nevertheless  continue  to  exisl  in  the  subconscious  memory.  Many 
of  these  ideas  embody  the  problems  to  be  studied  in  succeeding  grades.  They 
need  but  to  be  refreshed  in  the  memory  in  order  to  become  the  foundation 
upon  which  further  technical  development  may  be  based. 

In  the  development  of  language  experience  this  same  point  is  illustrated 
by  the  fact  thai  the  child  gains  control  of  newr  expressions,  new  forms,  new 
idioms  from  the  stories  which  are  read  to  him  by  parents  or  teachers.  The 
vocabulary  of  the  stories  is  too  involved  to  admit  his  reading  them  himself 
wdth  fluency;  but  his  interest  in  literature  is  sustained  by  them,  his  feelings 
are  developed,  and  he  gains  new  expressions  for  his  owrn  vocabulary. 

II.   RHYTHMIC   DEVELOPMENT 

As  in  the  first  grade,  the  development  of  the  rhythmic  instinct  is  carried 
on  during  the  first  half  of  the  second  year  through  the  imitation  of  the  rhythms 
in  the  rote  songs,  through  the  actions  of  the  singing  games,  and  through  the 
movements  of  the  folk  dances.  Attention  should  be  called  to  the  fact  that 
the  important  words  and  strong  syllables  receive  greater  stress  in  singing 
than  the  less  important  words  and  syllables. 

In  the  study  of  the  notation  of  familiar  songs,  beginning  with  the  sixth 
month  of  the  second  grade,  attention  should  be  called  to  the  similar  rhythmic 
notation  of  recurring  phrases.  The  scanning  of  the  poem  by  phrases  or  poetic 
lines  should  be  associated  with  the  rhythmic  notation  of  the  phrase.  The 
grouping  of  accented  and  unaccented  syllables  should  be  associated  with  the 
division  of  the  phrase,  by  bars,  into  measures.  The  longer  and  shorter  tones 
should  be  associated  with  the  various  kinds  of  notes. 

In  the  ninth  month,  wdiere  new  songs  are  to  be  read,  the  children  should 
be  helped  to  relate  the  phrase  rhythms  of  the  new  songs  with  similar  phrase 
rhythms  in  familiar  songs. 

III.    SPECIFIC   WORK   IN   EAR   TRAINING 

1.   Singing  Songs  with  Neutral  Syllable 

The  child's  interest  in  the  song  should  gradually  be  drawn  to  its  more 
definite  musical  aspects.  As  in  the  first  grade,  the  teacher  should  sing  alter- 
nate phrases  with  the  children,  using  loo  or  some  other  neutral  syllable,  later 
encouraging  rows,  groups,  and  individual  children  to  sing  alternate  phrases, 
until  each  child  is  conscious  of  the  phrase  as  a  unit  of  thought  in  music.  Each 
phrase  must  be  sung  wdth  a  single  breath  and  sustained  without  interruption. 


SECOND   GRADE  — INTRODUCTION  37 

2.   Recognition  of  Phrase  Repetition 

From  the  recognition  of  a  phrase  as  such  to  the  recognition  of  phrase  rep- 
etition in  the  song  is  but  a  step  which  may  be  taken  in  the  same  lesson.  These 
steps,  however,  are  distinct,  and  each  is  vital  to  further  progress.  They  are 
vital  in  the  development  of  melodic  discrimination,  of  musical  memory,  of 
artistic  expression  and  use  of  the  voice,  and  later  in  reading,  where  getting 
the  thought  from  the  printed  page  and  giving  it  expression  is  all-important. 

3.  Application  of  so-fa  Syllables 

This  step  has  been  treated  in  such  detail  in  the  Introduction  to  the  First 
Grade  that  the  teacher  is  referred  to  that  part  of  the  Manual  for  a  full  treat- 
ment.1 The  directions  apply  equally  well  to  the  work  of  the  second  grade. 
Only  a  beginning  was  made  in  the  first  grade,  where  the  so-fa  syllables  of  ten 
songs  in  Book  One  were  taught.  These  songs  must  be  thoroughly  reviewed, 
and  the  application  of  syllables,  as  outlined  for  second  grade,  must  be  con- 
tinued intensively. 

In  the  case  of  repeated  phrases,  the  teacher  will  teach  the  syllables  by 
rote  at  the  first  appearance,  encouraging  the  children  to  recognize  that  the 
recurrence  of  the  phrase  is  to  be  accompanied  by  the  use  of  the  same  syllables. 

If  a  phrase  is  so  long  that  the  children  fail  to  remember  or  to  reproduce 
the  syllables  at  one  or  two  hearings,  the  teacher  will  find  it  expedient  to  divide 
the  phrase  into  its  constituent  motives  or  figures.  For  instance,  in  "  Polly's 
Bonnet,"  Book  One,  page  7,2  we  find  two  long  phrases.  Here  it  is  best  to  teach 
do-mi-so  as  the  first  tone-word;  then  do-mi-so-so;  and  finally  mi-do-so-so. 
Then  combine  the  three  tone-words  so  as  to  form  the  entire  phrase,  or  song- 
sentence. 

Once  learned,  the  singing  of  familiar  songs  by  so-fa  syllables  should  become 
a  regular  practice.  The  use  of  the  syllables  will  soon  become  as  natural  and 
facile  as  the  singing  with  words.  Gradually  the  children  will  come  to  antici- 
pate the  syllables  of  new  songs,  by  association  with  figures  made  familiar 
in  other  songs.  This  marks  an  important  step  in  tone  thinking.  The  moaning 
and  significance  of  certain  tonal  relationships  will  have  become  clear  to  the 
children.  The  same  process  has  frequently  been  observed  in  the  development 
of  language  ideas.  A  child  will  acquire  an  expression  by  subconscious  imita- 
tion, will  later  become  conscious  of  its  meaning,  and  will  proceed  thereafter 
to  apply  it  with  intelligence. 

4.  Recognition  of  Motives  and  Figures 
Most  musical  phrases  may  be  divided  into  motives,  or  will  be  found  to 
consist  of  figures,  or  a  combination  of  motives  and  figures. 

1  Teacher's  Manual,  page  26.  2  Teacher's  Manual,  page  189. 

244 ; 


38 


TEACHER'S   MANUAL 


A  motive  is  the  smallest  group  of  tones  by  which  a  particular  musical  com- 
position may  be  identified. 

A  figure  is  a  group  of  tones  which  presents  a  distinct  musical  idea,  though 
too  meager  in  content  to  point  to  any  particular  composition. 

For  instance,  in  "Good  Morning,"  Book  One,  page  51,  the  first  four  words, 
"Good  morning  to  you,"  which  may  be  considered  a  phrase,  may  likewise  be 
considered  a  motive.  When  sung  to  a  neutral  syllable  these  tones  easily 
identify  the  song  as  "Good  Morning."  Omitting  the  first  tone  and  singing 
the  following  four  tones  to  a  neutral  syllable,  we  have  a  figure  which,  while 
presenting  a  definite  and  readily  recognized  idea,  is  nevertheless  in  no  way 
peculiar  to  "  Good  Morning,"  but  may  be  found  in  many  songs.  In  Book  One, 
Chapter  I,  we  find  songs  in  which  motives  and  figures  consisting  of  tones  of 
the  tonic  chord  predominate. 

In  the  recognition  of  motives  and  figures  by  ear,  the  teacher  sings  the 
motive  or  figure  (tone-word)  with  loo,  and  the  children  respond  with  the 
so-fa  syllables.  It  may  often  be  necessary  first  to  sing  the  entire  phrase  and 
then  the  figure  which  the  children  are  to  recognize.  This  form  of  exercise, 
conducted  in  short,  brisk  drills,  is  one  of  the  most  important  means  for  the 
development  of  a  discriminating  musical  ear. 

The  following  diagrams  will  illustrate  the  meanings  of  the  musical  terms 
"phrase,"  "motive,"  and  "figure." 

The  Holiday 

(Book  One,  page  15.    Teacher's  Manual,  page  195.) 
Phrase 


Motive  I 

Motive  II 

.    P., 

1                                i          1 

#4 

•        *     f- — *- — 

* — r-      *-       r- 
—to — ^ — 

<^J 

Tr  ^ 

_) j^L E J 

1^_ K 1_ |__ 1 

s 

Figure  a1  Figure  a2  Figure  b 

Note.    Figures  a2  and  b  may  be  said  to  be  "spliced." 


Lady  Moon 

(Book  One,  page  37.    Teacher's  Manual,  page  210.) 
Phrase 


Motive  I                                            Motive  II 

f)   l-l 

I                                                ll                                             ! 

]/\V      <1 

m 

m        m 

m        w        F 

f*          F 

IV    ?    1       m        i            r 

0 

m 

1 

\>\)          H-        9                        1 

1          i 

1 

«J 

^           .^'           > —             ^ 

■Vw.                                         

Figure  a  Figure  b  Figure  c  Figure  d 

Note.     Figures  b  and  c  are  sequential  repetitions  of  Figure  a. 
1  Teacher's  Manual,  page  187. 


SECOND   GRADE  —  INTRODUCTION  39 

The  monthly  outlines  state  definitely  just  which  figures  are  to  be  studied. 
This  work  will  be  found  to  be  greatly  simplified  by  the  careful  organization 
of  the  songs  into  chapters,  each  chapter  illustrating  a  definite  type  of  motive 
or  figure. 

IV.   PRESENTATION   OF   FAMILIAR   SONGS   IN    STAFF   NOTATION 

1.   Observing  Representation  of  an  Entire  Familiar  Song 

The  teacher  will  copy  on  the  blackboard  a  familiar  song  which  has  been 
sung  by  syllables.  She  should  be  careful  to  copy  it  neatly,  one  phrase  to  a 
line,  just  as  it  appears  in  the  book.  This  familiar  song,  written  upon  the  board, 
represents  the  very  first  step  in  the  presentation  of  staff  notation  to  the  chil- 
dren. The  teacher  tells  the  name  of  the  song  and  indicates  each  phrase  with 
a  sweep  of  the  pointer.    The  children  sing  with  the  words,  loo,  and  the  syllables. 

2.   Recognition  of  Familiar  Phrases  by  Position  in  the  Song 

(a)  The  teacher  points  out  phrases  at  random,  individual  children  sing- 
ing them  with  correct  so-fa  syllables. 

(6)  The  teacher  may  sing  a  phrase  at  random,  which  individual  children 
will  locate  on  the  blackboard. 

(c)  Children  point  out  phrases  which  look  alike,  singing  each  phrase  and 
its  recurrence  with  so-fa  syllables. 

3.  Recognition  of  Motives  and  Figures  by  Position  in  the  Song 

In  locating  a  motive  or  a  figure  by  its  position  in  the  song  on  the  black- 
board, the  teacher  should  sing  it  with  loo  or  syllables;  the  child  then  desig- 
nates it  with  a  sweep  of  the  pointer  or  by  inclosing  it  with  the  index  ringers 
of  both  hands  so  that  the  notes  between  the  two  pointing  fingers  will  stand 
out  distinctly.  This  helps  to  impress  upon  the  mind  the  staff-picture  of  the 
motive  or  figure,  and  increases  its  vividness.  The  motive  or  figure  having 
been  correctly  located,  it  should  be  sung  with  so-fa  syllables  by  individuals 
and  by  the  class.  Repeated  association  between  the  visual  image  and  the 
aural  concept  is  required  in  order  to  secure  instant  recognition. 

Attention  should  be  called  to  the  five  lines  and  four  spaces  of  the  staff, 
counting  from  the  bottom  upward.  The  children  should  describe  the  staff 
appearance  of  certain  figures,  do-mi-so  in  "Good  Morning"  for  instance,  as 
being  located  on  the  first,  second,  and  third  lines;  the  same  figure  in  "Fido 
and  His  Master"  as  being  located  in  the  first,  second,  and  third  spaces. 
They  should  observe  that  when  a  note  is  described  as  being  on  a  line,  the  line 
passes  through  the  middle  of  the  head  of  the  note;  when  in  a  space,  the 
head  of  the  note  lies  between  two  lines. 

T.  M.  Vol.  1—4 


40 


TEACHER'S  MANUAL 


When  the  notation  of  the  song  has  been  thoroughly  studied  from  the 
blackboard,  the  same  steps  should  be  repeated  with  the  books  in  the  hands 
of  the  children.  After  the  first  few  songs  of  each  chapter  have  been  studied 
in  these  two  ways,  the  teacher  may  find  it  wise  to  omit  the  blackboard  presen- 
tation and  study  the  subsequent  songs  of  the  chapters  directly  from  the  book. 

In  locating  motives  and  figures  in  the  book,  a  good  device  is  to  ask  the 
children  to  spread  the  index  and  middle  fingers  of  the  right  hand  upon  the 
page  so  as  to  inclose  the  notes  representing  the  motive  or  figure  being  sought. 
As  in  the  blackboard  work,  this  surrounding  of  the  printed  figure  brings  it 
out  of  its  context  and  impresses  the  image  upon  the  eye. 


4.   Drills  in  Independent  Recognition  of  Motives  and  Figures 

Familiar  motives  and  figures  may  now  be  written  upon  the  blackboard  or 
upon  perception  cards1  for  further  drill  in  rapid  visualization.  The  teacher 
will  sing  the  first  tone  of  the  motive  or  figure  with  correct  syllable  and  point 
to  its  notation  on  the  board,  or  expose  the  perception  card  for  a  fraction  of  a 
second,  calling  upon  the  class  and  individuals  to  sing  the  entire  motive  or 
figure  instantly.  The  following  motives  and  figures  from  the  first  two  songs 
will  illustrate  this  point. 

Good  Morning 


J 


A  Good-by  Song 


* 


' 


All  drills  should  be  short  and  brisk,  never  exceeding  five  minutes  in  dura- 
tion. Individual  work  should  be  emphasized  in  eye  training  as  well  as  in  ear 
training. 

Signatures  and  Rhythmic  Notation 

Nothing  should  be  said  about  signatures  or  keys  at  this  time.  The  chil- 
dren need  only  to  observe  that  do  does  not  have  a  fixed  staff  position,  and 
that  when  do  moves,  the  entire  figure,  like  do-mi-so  for  instance,  moves  with 
it.    They  should  note  that  do-mi-so  is  either  on  three  consecutive  lines  or  in 


1  Printed  motive  and  figure  cards  may  be  obtained  from  the  publishers  of  the  Progressive 
Music  Series. 


SECOND   GRADE  —  INTRODUCTION  41 

three  consecutive  spaces.  To  the  eye  there  are  only  two  keys,  line  do  and 
space  do. 

Gradually  the  children  may  be  led  to  notice  that  tones  of  different  lengths 
are  represented  by  different  kinds  of  notes.  This  will  take  place  when  figure 
recognition  has  become  more  or  less  automatic,  and  the  eye  has  a  chance  to 
take  in  other  details.     (See  the  section  on  Rhythmic  Development,  page  36.) 

The  present  aim  is  to  enable  the  children  to  associate  automatically  the 
staff  pictures  of  familiar  motives  and  figures  with  their  sounded  effect  in  the 
singing  of  the  song.  This  association  of  eye  with  ear  will  also  help  to  confirm 
the  work  in  ear  training,  especially  with  " eye-minded"  children.1 


V.   READING   NEW   SONGS   FROM    STAFF   NOTATION 

The  next  step  in  the  preliminary  study  of  notation  is  the  application  of 
the  child's  ear  and  eye  experience  to  the  reading  of  the  songs  in  Chapters  VI 
and  VII  with  such  assistance  from  the  teacher  as  may  be  required.  The 
teacher  will  observe  that  the  songs  of  Chapter  VI  may  be  compared  with 
those  of  Chapter  I,  in  that  figures  composed  of  tones  of  the  tonic  chord  are 
prominent.  The  songs  of  Chapter  VII  are  similar  in  figure  content  to  those 
of  Chapter  II. 

1.  Preliminary  Study 

(a)  Scansion  of  Poem  in  Concert  to  get  the  Rhythmic  Flow  of  the  Phrases 

As  the  first  step  in  studying  a  new  song,  the  children,  led  by  the  teacher, 
should  read  the  poem  in  concert  in  order  to  get  the  rhythmic  flow  of  each 
phrase.  It  has  been  mentioned  before  that  the  rhythmic  feeling  should  be 
developed  from  the  standpoint  of  poetry  rather  than  of  mathematics,  or 
counting  beats.  The  rhythmic  effect  of  the  whole  phrase  should  be  felt, 
rather  than  that  of  single  measures  or  beats. 

(6)  Comparison  of  Phrases  with  Phrases  Rhythmically  Similar  in  Familiar  Songs* 

The  next  step  is  to  direct  the  children's  attention  to  phrases  in  the  familiar 
songs  of  Part  One  of  Book  One  which  are  rhythmically  similar  to  the  phrases 
under  consideration.  The  children  scan  the  familiar  phrase  in  the  rhythm  of 
its  notation,  compare  the  notation  with  the  similar  phrase  in  the  new  song, 
and  then  scan  the  phrase  of  the  new  song.  By  this  process  the  children  learn 
to  associate  notation  with  the  rhythmic  swing  and  flow  of  the  melody  and 
avoid  the  rigid  counting  process  which  is  often  so  deadening  in  the  child's 
early  efforts  at  sight  reading. 

1  See  "Psychological  Monographs,"  Vol.  XVI,  No.  3. 


42  TEACHER'S  MANUAL 

2.   Study  of  the  First  Phrase 

To  establish  the  key  the  teacher  sounds  the  keynote  on  her  pitch  pipe, 
and  sings  the  first  tone  of  the  song  with  its  proper  syllable. 

(a)  The  teacher  then  asks  the  children  to  find  and  sing  the  familiar  figures 
in  the  first  phrase.  If  the  ear  work  and  eye  work  in  connection  with  the  songs 
of  Part  One  have  been  properly  done,  most  of  the  figures  will  be  familiar. 

(6)  If  the  phrase  contains  unfamiliar  figures,  or  if  the  figures  are  connected 
by  unfamiliar  intervals,  these  passages  should  be  taught  by  rote. 

(c)  The  phrase  as  a  whole  should  then  be  sung  by  individuals  and  by  the 
class,  with  syllables,  with  loo,  and  with  the  words.  The  teacher  may  find  it 
advisable  to  support  the  children's  voices  over  the  unfamiliar  places  in  order 
that  the  phrase  may  flow  evenly  and  smoothly. 

3.   Finding  and  Singing  Repetitions  of  the  First  Phrase,  if  Any 

The  next  step  is  to  look  through  the  song  to  determine  whether  the  phrase 
is  repeated,  and,  if  so,  to  sing  the  recurring  phrases  with  syllables,  wTith  loo, 
and  with  words.  Frequently  it  may  be  wTell  to  attempt  the  singing  of  the 
repeated  phrases  immediately  with  the  words. 

4.   Similar  Study  of  Remaining  Phrases  and  their  Repetitions,  if  Any 

The  second  phrase  and  its  repetitions,  if  any,  should  be  studied  in  the 
same  manner  as  the  first  phrase.  The  other  phrases  should  be  similarly 
studied. 

5.   Singing  of  Entire  Song  with  Words;  Memorization 

The  various  phrases  now  being  familiar  as  units,  the  song  should  be  sung 
as  a  whole  with  so-fa  syllables,  with  loo,  and  with  w^ords,  and  added  to  the 
children's  repertory.  Many  of  the  songs  are  folk  songs  of  w^ell-established 
merit  and  are  a  genuine  addition  to  the  musical  experience  of  the  children. 
The  others  possess  art  qualities  wdiich  make  them  equally  commendable. 
All  these  songs  should  be  sung  over  and  over  during  the  year,  with  a  con- 
stant effort  toward  finer  artistic  interpretation.  Singing  them  with  syllables 
(re-reading  them)  should  likewise  be  continued.  This  will  tend  to  facilitate 
the  children's  use  of  the  syllables,  will  familiarize  them  with  the  symbols, 
and  will  habituate  them  to  the  process  of  seeing  phrases  as  wholes  or  as 
composed  of  constituent  motives  or  figures. 

This  habit  of  visualizing  groups  instead  of  single  unrelated  notes  is  vital 
to  smooth  reading,  is  helpful  in  grasping  the  thought  and  in  expressing  it,  and 
is  of  the  utmost  hygienic  importance  in  relation  to  eye  strain.1 

1  See  Huey,  "  Psychology  and  Pedagogy  of  Reading." 


Second  Grade  —  Monthly  Outlines 

first  month 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)  Three  Little  Heads;  Teacher's  Manual,  page  150. 

(b)  The  Grasshopper's  Ball;  Teacher's  Manual,  page  152. 

(c)  Swing  Song;  Teacher's  Manual,  page  153. 

II.  Review    Study. 

Carefully  review  the  songs  in  Book  One,  Chapter  I,  noting 
phrase  repetitions  and  applying  syllables.  The  teacher  should 
encourage  the  children  to  increasing  independence  in  the  use  of 
syllables. 

III.  Study  of  Motives  and  Figures.    Book  One,  Chapter  I. 

Introductory  Suggestions 

For  suggestions  regarding  the  teaching  of  rote  songs,  see  General  Sugges- 
tions, the  Introduction  to  the  First  Grade,  and  Outline  for  First  Grade,  First 
Month. 

Review  the  syllables  of  all  the  songs  in  Chapter  I  of  Book  One,  presenting 
them  again  by  rote,  if  necessary,  and  encouraging  the  children  to  anticipate 
the  syllables  for  recurring  phrases.  Each  child  should  sing  alone  as  often  as 
possible  during  every  week.  The  teacher  should  see  that  each  child  is  able 
to  sing  all  of  the  songs  freely  with  syllables.  The  intensiveness  of  the  ear 
training  work  in  this  grade  and  in  the  third  grade  will  largely  determine  the 
degree  of  success  in  sight  reading  later  on.  See  also  Introduction  to  First 
Grade,  Step  III,  page  24.  » 

Before  taking  up  the  study  of  the  motives  and  figures  in  Book  One, 
Chapter  I,  the  teacher  should  read  the  Introduction  to  Second  Grade,  Step 
III,  page  36.  The  first  figure  which  the  children  should  recognize  by  ear  in 
the  several  songs  of  Chapter  I  is  the  succession  do-mi-so.  This  figure  will  be 
found  in  "Good  Morning,"  "A  Good-by  Song"  (with  repeated  mi),  "Fido 
and  His  Master,"  "Polly's  Bonnet,"  and  "The  Postman."  These  motives 
and  figures  should  first  be  associated  with  the  songs  in  which  they  occur. 
Later,  for  ear  training,  let  the  children  respond  to  the  teacher's  loo  with  the 
syllables. 

43 


44  TEACHER'S   MANUAL 

Characteristic  Motives  and  Figures  in  the  Songs  of  Chapter  I 

To  be  used  for  Ear  Training 

Good  Mornina;  Book  One,  page  5.    Teacher's  Manual,  page  187. 
The  motive    do-do-mi-so-do 
The  figures     do-mi-so 

do-mi-so-do 

A  Good-by  Song;  Book  One,  page  6.    Teacher's  Manual,  page  188. 
The  motives  do-mi-mi-so 
so-mi-mi-do 

Fido  and  His  Master;  Book  One,  page  7.    Teacher's  Manual,  page  188. 

The  motive    do-mi-so.  (May  here   be    considered  as 

phrase,  motive,  or  figure.) 

The  figure      do-so-mi-do 

Polly's  Bonnet;  Book  One,  page  7.    Teacher's  Manual,  page  189. 
The  motives  do-mi-so 

do-mi-so-so 

mi-do-so-so 
The  figure       so-so-do 

The  Postman;  Book  One,  page  8.    Teacher's  Manual,  page  190. 
The  motives  mi-so-do-mi 

so- so-so-do-mi- so 

The  figures     so-so-so-do 
do-mi-so 
mi-so-do 
so-do-mi-so 

Bubbles;  Book  One,  page  9.    Teacher's  Manual,  page  189. 
The  motive  (or  figure)  mi-so-do-mi 

Cherries;  Book  One,  page  10.    Teacher's  Manual,  page  191. 
The  motive    so-mi-do-re 
The  figure      so-mi-do 


SECOND   GRADE  —  MONTHLY  OUTLINES  45 

Summary  of  Figures  in  Chapter  I 

do-mi-so-do 

do-so-mi-do 

do-mi-so 

so-mi-do 

do-mi-so 

mi-so-do 

so-do-mi-so 

mi-so-do-mi 

SECOND  MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    One  Misty,  Moisty  Morning;  Teacher's  Manual,  page  154. 
(6)    Chrys  Anthemum;  Teacher's  Manual,  page  155. 
(c)    Windy  Nights;  Teacher's  Manual,  page  156. 

II.  Application  of  Syllables.    Book  One,  Chapter  II.    (See  Note  under  First 
Month,  Step  II,  page  43.) 

In  the  case  of  three  of  the  songs,  "The  Holiday,"  "Dolly's  Lullaby,"  and 
"Lady  Bug,"  the  application  of  syllables  will  be  review  work,  as  they  were 
outlined  for  this  study  in  the  first  grade.  In  applying  the  syllables  to  the 
other  songs,  the  teacher  should  follow  the  directions  given  in  the  Outline  for 
First  Grade,  Step  III  under  Ear  Training,  and  Step  III  under  Ear  Training 
for  Second  Grade. 

III.  Study  of  Motives  and  Figures.    Book  One,  Chapter  II. 

The  characteristic  figures  of  the  songs  in  Chapter  II  are  based  upon 
the  tones  of  the  tonic  chord  with  their  active  neighboring  tones. 
In  "Twinkling  Fireflies,"  for  example,  the  prominent  figure  is 
mi-fa-mi;  the  same  figure  is  found  in  "Dolly's  Lullaby"  and  in 
"Lady  Bug."  The  figure  fa-mi,  a  derivative  of  the  mi-fa-mi  fig- 
ure, is  also  found  in  "A  Little  Lady,"  "Little  Brook,"  and  "The 
Song  Sparrow's  Toilet."  The  figure  do-ti-do  is  found  in  "A  Little 
Lady,"  "The  Parade,"  "The  Holiday,"  and  "The  Song  Spar- 
row's Toilet."  The  figure  do-re-do  occurs  in  "The  Parade," 
"Whippoorwill,"  "Dolly's  Lullaby,"  and  "Lady  Bug."  The  fig- 
ure so-la-so  occurs  in  "A  Little  Lady,"  "The  Holiday,"  "Whip- 
poorwill," "Lady  Bug,"  and  "The  Song  Sparrow's  Toilet." 


46  TEACHER'S  MANUAL 

Characteristic  Motives  and  Figures  in  the  Songs  of  Chapter  II 
To  be  used  for  Ear  Training 
Twinkling  Fireflies;  Book  One,  page  11.    Teacher's  Manual,  page  192. 
The  motive  mi-fa-mi-do 

The  figure  mi-fa-mi 

Ring  a  Ring  o'  Roses;  Book  One,  page  12.    Teacher's  Manual,  page  193. 
The  figures  do-so 

mi-do 

These  intervals  may,  in  some  songs, 
so-so-do     be  treated  as  figures.     In  other  songs 

they  are  plainly  derivatives  of  figures. 
so-mi  gee  Summary  0f  Figures  on  page  70. 

Little  Brook;  Book  One,  page  12.    Teacher's  Manual,  page  193. 
The  figure  so-mi-do 

The  derivatives  do-re 
re-do 
fa-mi 

A  Little  Lady;  Book  One,  page  13.    Teacher's  Manual,  page  194. 
The  motive  so-so-do-U-do 

The  figures  do-ti-do 

so-mi-do 

so-la-la-so  (so-la-so) 
The  derivative   fa-mi 

The  Parade;  Book  One,  page  14.    Teacher's  Manual,  page  195. 
The  motive  do-re-ti-do 

The  figure  do-re-do 

The  Holiday;  Book  One,  page  15.    Teacher's  Manual,  page  195. 
The  figures  so-la-so 

so-so-mi 
do-ti-do 


SECOND   GRADE  —  MONTHLY  OUTLINES  47 

Whippoorwill;  Book  One,  page  16.    Teacher's  Manual,  page  196. 
The  figures  so-la-so 

mi-so-do 
do-re-do 

Dolly's  Lullaby;  Book  One,  page  17.    Teacher's  Manual,  page  197. 
The  motive  mi-re-mi-do 

The  figures  re-do  (do-re-do) 

mi-fa-mi 

mi-re-mi 

Lady  Bug;  Book  One,  page  18.    Teacher's  Manual,  page  198. 
The  motive         do-re-do-mi 
The  figures  mi-fa-mi 

so-la-so 

do-re-do 
The  derivative    ti-do 

The  Song  Sparrow's  Toilet;   Book    One,  page  19.     Teacher's   Manual, 

page  197.        r™     a  ,    ,.  , 

*  The  figures  do-h-do 

so-la-so 

The  derivatives  la-so 

fa-mi 

re-do 

Summary  of  Figures  in  Chapter  II 
do-ti-do  so-la-so 

mi-re-mi  do-re-do 

mi-fa-mi 

Derivatives  of  these  Figures 
do-ti  ti-do 

la-so  so-la 

fa-mi  mi-fa 

re-do  do-re 

Note.     This  summary  of  the  derivatives  shows  that  the  pupils  have  studied  all  the  tones 
of  the  major  scale,  ascending  and  descending,  with  regard  to  their  melodic  tendencies. 


48  TEACHER'S  MANUAL 

THIRD  MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote : 

(a)   Rock-a-bye,     Hush-a-bye,     Little     Papoose;    Teacher's     Manual, 

page  157. 
(6)    Eatings;  Teacher's  Manual,  page  161. 
(c)    Bedtime;  Teacher's  Manual,  page  158. 

H.  Application  of  Syllables.    Book  One,  Chapter  III. 

The  children  should  be  encouraged  to  an  increasing  independence  in 
applying  syllables  to  recurring  phrases  and  to  figures  which  they 
#  have  studied  in  earlier  songs.     (See  Teacher's  Manual,  pages  26 
and  37.) 

HI.  Study  of  Motives  and  Figures.    Book  One,  Chapter  III. 

The  characteristic  motives  and  figures  of  the  songs  in  Chapter  III 
are  based  upon  diatonic  progressions  A  study  of  these  songs  will 
show  many  instances  of  "spliced"  figures  and  of  derivatives  of  the 
figures  previously  listed. 

Characteristic  Motives  and  Figures  in  the  Songs  of  Chapter  III 
To  be  used  for  Ear  Training 

The  Gypsy  Peddler;  Book  One,  page  20.    Teacher's  Manual,  page  199. 
The  figures        do-so-mi-do 
do-mi-so-do 
do-ti-la-so 
so-la-so 
mi-do 
so-fa-mi-re-do 

Note.    It  will  be  found  simpler  to  study  the  syllables  of  the  last  phrase  before 
taking  the  second  phrase. 

The  Mulberry  Bush;  Book  One,  page  21.    Teacher's  Manual,  page  199. 
The  motives      mi-so-mi-do 

so-la-ti-do-do 
The  figures        do-mi-so 
so-mi-do 
do-ti-la-so 
so-la-ti-do 


SECOND  GRADE  —  MONTHLY  OUTLINES  49 

Soldier  Boys;  Book  One,  page  22.    Teacher's  Manual,  page  201. 

The  figures        do-mi-so 
do-ti-la-so 
so-la-ti-do 
so-mi-do 

A  Surprise;  Book  One,  page  24.    Teacher's  Manual,  page  200. 

The  figures        mi-fa-so 
do-re-mi 

Upon  a  Morning  Sunny;  Book  One,  page  25.    Teacher's  Manual,  page  202. 
The  figures        so-do 

do-re-mi-fa-so 

so-la-so 

fa-mi-re-do 

Betty  and  Billy;  Book  One,  page  26.    Teacher's  Manual,  page  203. 
The  motive        do-re-mi-re 
The  figures        so-fa-mi-re-do 
mi-fa-so 

The  derivatives  do-so 
do-re 
mi-do 
mi-re 
re-mi-fa-so 

The  Skipping  Rope;  Book  One,  page  27.    Teacher's  Manual,  page  204. 

The  figures        mi-re-do 
mi-fa-mi 
so-la-so 
so-fa-mi  » 

Summary  of  Figures  in  Chapter  III 
do-re-mi-fa-so  so-fa-mi-re-do 

do-re-mi-fa  fa-mi-re-do 

do-ti-la-so  so-la-ti-do 

.   do-re-mi  mi-re-do 

mi-fa-so  so-fa-mi 

Note.     This  summary  of  figures  shows  that  the  tetrachord  relations  of  the  tones  of  the 
scale  have  been  studied. 


50 


TEACHER'S  MANUAL 


FOURTH  MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    Kris  Rringle's  Song;  Teacher's  Manual,  page  1G0. 
(6)    Sing  a  Song  of  Sixpence;  Teacher's  Manual,  page  164. 
(c)    The  Jolly  Holly  Farm;  Teacher's  Manual,  page  166. 

II.  Application  of  Syllables.     Book  One,  Chapter  IV.     (See  Note  for  Third 
Month,  Step  II,  page  48.) 

m.   Study  of  Motives  and  Figures.    Book  One,  Chapter  IV. 

The  characteristic  motives  and  figures  of  the  songs  in  Chapter  IV 
are  based  upon  sequential  repetitions  of  diatonic  progressions.  In 
"Oh,  What  a  Sweet  Little  White  Mouse,"  the  following  figure- 
sequence  will  be  found:  do-re-mi;  re-mi-fa;  mi-fa-so;  also  the 
following:  mi-re-do;  fa-mi-re;  so-fa-mi.  In  "The  Swallows" 
we  find  mi-fa-so-la;  do-re-mi-fa;  re-mi-fa-so;  fa-so-la-ti;  also: 
so-fa-mi-re;  la-so-fa-mi;  do-ti-la-so.  Similar  diatonic  progressions  of 
a  sequential  nature  will  be  found  in  the  other  songs  of  this  chapter. 

Characteristic  Motives  and  Figures  in  the  Songs  of  Chapter  IV 

To  be  used  for  Ear  Training 
The  sequential  development  of  figures  is  indicated  by  the  lists  in  braces. 

Oh,  What  a  Sweet  Little  White  Mouse;  Book  One,  page  28.    Teacher's 
Manual,  page  204. 
The  figures      do-re-mi  {do-re-mi  {mi-re-do 

mi-re-do  <  re-mi-fa  <  fa-mi-re 

re-mi-fa  [mi-fa-so  [so-fa-mi 

fa-mi-re 
mi-fa-so 
so-fa-mi 
TJie  Swallows;  Book  One,  page  29.    Teacher's  Manual,  page  205. 


The  figures  mi-fa-so-la 
so-fa-mi-re 
do-re-mi-fa 
re-mi-fa-so 
la-so-fa-mi 
fa-so-la-ti 
do-ti-la-so 
do-re-do 


'  do-re-mi-fa 
re-mi-fa-so 
mi-fa-so-la 

k  fa-so-la-ti 

'do-ti-la-so 
la-so-fa-mi 
I  so-fa-mi-re 


SECOND   GRADE  —  MONTHLY  OUTLINES  51 

The  Clown;  Book  One,  page  30.    Teacher's  Manual,  page  206. 
The  motives     la-ti-do-so 

re-do-ti-do 
The  figures       do-re-mi  J  do-re-mi 

re-mi-fa  \  re-mi-fa 

re-mi-fa-so 


do-ti-la 

so-fa-mi 

re-do-ti 


'  do-ti-la 
so-fa-mi 
,  re-do-ti 


Little  Sister's  Lullaby;  Book  One,  page  31.  Teacher's  Manual,  page  206. 
The  figures        do-ti-do  j  so-fa-mi-re 

do-re-do  "j  mi-re-do-ti 

mi-re-mi 

mi-fa-mi  The  second  phrase  is  a  sequen- 

ce in  rr,i  ro  tial  repetition  of  the  first;  the 

so-ja-mi-re  fourth  phrase>  of  the  third> 

mi-re-do-ti 

Evening  Lights;  Book  One,  page  32.  Teacher's  Manual,  page  207. 
The  figures       do-re-mi  ( la^so-fa-mi 

la-so-fa-mi  \db-ti-la-so 

do-ti-la-so 

re-mi-fa  j  do-re-mi 

mi-re-mi  [  re-mi-fa 

The  Circus;  Book  One,  page  33.    Teacher's  Manual,  page  208. 

The  motives     so-do-mi-do 

so-la-so-fa-mi 

mi-so-fa-mi-re 

The  figures      do-mi-do  r        

&  _  Jla-ti-do 

so-la-ti-do  S 

L  ti-do-re 
la-so-fa-mi 

so-fa-mi-re  (la-so-fa-mi 

mi-fa-so-la  [so-fa-mi-re 

la-ti-do 

fa-so-la 

la-ti-do 


52 


TEACHER'S  MANUAL 


Dandelion;  Book  One,  page  34.    Teacher's  Manual,  page  208. 
The  motive    so-mi-mi 
The  figures     do-re-do 

do-re-mi 

mi-so 

do-re-mi-fa-so 

so-do 


The  fourth  phrase  is  a  sequential  repe- 
tition of  the  third. 

Teacher's  Manual,  page  209. 


The  third  phrase  is  a  sequential  repeti- 
tion of  the  fhvt. 


Kind  Old  Winter;  Book  One,  page  35. 
The  figures    la-ti-do-ti-la 
la-mi-mi 
la-ti-do-re-mi 
re-mi-fa-mi-re 
re-la-la 
la-fa-la 

Playing  Soldier;  Book  One,  page  36.    Teacher's  Manual,  page  209. 
The  motives  mi-mi-mi-re-do 

fa-fa-fa-mi-re 
The  figures    do-re-mi-fa-so 

so-la-ti-do-re 

mi-re-do 

fa-mi-re 

so-fa-mi-re-do 


The  second  phrase  is  a  sequential  repe- 
tition of  the  first.  The  fourth  also,  is 
closely  related  to  the  first,  though  the 
tones  flow  in  the  opposite  direction. 
The  two  motives  of  the  third  phrase 
are  sequential. 


Summary  of  Figures  in  Chapter  IV 


do-re-mi 

re-mi-fa 

mi-fa-so 

fa-so-la 

so-la-ti 

la-ti-do 

ti-do-re 

do-re-mi-fa 

re-mi-fa-so 

mi-fa-so-la 

fa-so-la-ti 

so-la-ti-do 

la-ti-do-re 

ti-do-re-ml 


mi-re-do 

fa-mi-re 

so-fa-mi 

la-so-fa 

ti-la-so 

do-ti-la 

re-do-ti 

fa-mi-re-do 

so-fa-mi-re 

la-so-fa-mi 

ti-la-so-fa 

do-ti-la-so 

re-do-ti-la 

mi-re-do-ti 


SECOND   GRADE  —  MONTHLY  OUTLINES  53 

FIFTH  MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)  Icicles  and  Bicycles;  Teacher's  Manual,  page  165. 

(b)  The  Song  of  the  Wind;  Teacher's  Manual,  page  163. 

(c)  If;  Teacher's  Manual,  page  168. 

II.  Application  of  Syllables.     Book  One,  Chapter  V.     (See  Note  for  Third 
Month,  Step  II,  page  48.) 

In  addition  to  the  work  outlined  above,  the  teacher  should  encour- 
age the  children  to  apply  syllables  to  all  bits  of  melody  which  they 
may  hear  as,  for  example,  themes  from  pieces  played  on  the  grapho- 
phone  or  on  the  piano,  or  selections  by  a  passing  band  or  a  "  hurdy- 
gurdy."  Some  birds  sing  melodic  bits  which  may  be  syllabified 
and  thus  identified.  Such  work  leads  to  tone  thinking  in  definite 
terms.  It  helps  to  develop  the  tone  vocabulary  which  the  child 
needs  in  order  later  to  read  music  from  notation,  and  is  an  im- 
portant step  in  the  development  of  the  ability  to  write  music. 

HI.  Study  of  Motives  and  Figures.    Book  One,  Chapter  V. 

The  figures  in  Chapter  V  are  based  on  progressions  by  intervals.  In 
some  instances  the  repetitions  are  literal,  in  other  cases  they  are 
sequential.  For  example,  in  "Lady  Moon,"1  the  first  figure, 
mi-la-so,  is  succeeded  by  two  recurrences  of  the  same  figure,  each 
a  step  higher  than  the  one  before.  In  "The  Little  Huntsman,"2 
the  interval  figures  are  repeated  literally.  The  second  staff  of  the 
song  "Kittens,"  3  is  another  example  of  sequential  repetition. 

Characteristic  Motives,  Figures,  and  Intervals  of  the  Songs  of  Chapter  V 

To  be  used  for  Ear  Training 
Lady  Moon;  Book  One,  page  37.    Teacher's  Manual,  page  210. 

The  motive  mi-do-re-do  * 

The  figures  mi-la-so 

fa-ti-la 
so-do-ti 
so-fa-mi-re 
la-so-fa-mi 
so-re-do 
do-re-do 

1  Book  One,  page  37;  Teacher's  Manual,  page  210. 

2  Book  One,  page  38;  Teacher's  Manual,  page  210. 

3  Book  One,  page  39;  Teacher's  Manual,  page  211. 


54  TEACHER'S   MANUAL 

The  Little  Huntsman;  Book  One,  page  38.    Teacher's  Manual,  page  210. 


The  figures 

do-mi-so- 

so-la-so 

re-mi-do 

do 

The  intervals 

mi-so 
fa-re 
re-so 
so-do 

Kittens;  Book  One,  page  39.    Teacher's  Manual,  page 

j  211. 

The  chord  figures 

do-mi-so 
fa-re-ti 
la-fa-re 
so-mi-do 

False  Alarm;  Book  One,  page  40. 

Teacher 

's  Manual, 

page  212. 

The  intervals 

do-so 

la-fa 

so-mi 

fa-re 

do-so 

so-do 

Snowflakes;  Book  One,  page  41. 

Teacher's 

Manual,  page  212. 

The  intervals 

mi-do 
re-ti 
do-la 
la-do 

Sleep,  Little  Treasure;  Book  One, 

page  42. 

Teacher's 

Manual,  page  213. 

The  intervals 

so-mi 

do-so 

do-mi 

re-fa 

fa-re 

mi-so 

so-re 

SECOND   GRADE  —  MONTHLY  OUTLINES  55 

Bylo,  Baby  Bunting;  Book  One,  page  43.     Teacher's  Manual,  page  214. 


The  intervals 

mi-so 

la-fa 

so-so 

The  scale  figures 

do-ti-la 

ti-do-re 

mi-re-do 

In  Wooden  Shoes;  Book  One,  page  44.    Teacher's  Manual,  page  214. 
The  chord  motives  so-so-mi-do-mi-so 

fa-fa-re-ti-re-do 

do-mi-do-so 
The  chord  figures     so-mi-do 

do-mi-so 

fa-re-ti 

mi-do-so 
The  scale  figures      so-la-ti 

do-re-mi 

fa-mi-re 

mi-re-do 
Raindrops;  Book  One,  page  45.    Teacher's  Manual,  page  215. 
The  interval  figures  la-do 

ti-re 
The  figures  la-so 

la-ti-do 

do-ti-do 
Valentine  Song;  Book  One,  page  46.    Teacher's  Manual,  page  216. 
The  motives  do-do-mi-do 

ti-ti-re-ti 

so-fa-fa-mi-re-do 
The  chord  figures     so-mi-do 
(page  47)  fa-re-ti 

mi-do-la 

re-ti-so 
The  intervals  la-fa 

re-so 

T.  M.  Vol.  1—5 


56  TEACHER'S   MANUAL 

Will  You  Come  With  Me;  Book  One,  page  48.  Teacher's  Manual,  page  217. 
The  motive  do-re-do-la-so 

The  figures  so-fa-mi-re 

fa-mi-re-do 
The  interval  re-so 

Summary  of  Intervals 
Thirds 


do-mi 

mi-do 

re-fa 

fa-re 

mi-so 

so-mi 

fa-la 

la-fa 

do-fa 

fa-do 

re-so 

so-re 

mi-la 

la-mi 

fa-ti 

ti-fa 

so-ti 

ti-so 

la-do 

do-la 

ti-re 

re-ti 

Fourths 


so-do 

do-so 

la-re 

re-la 

ti-mi 

mi-ti 

Note.  The  singing  of  these  intervals  in  sequence  is  sufficient  drill  for  second-grade  chil- 
dren. At  this  time  it  is  not  necessary  to  drill  upon  the  other  intervals.  Fifths  are  inversions 
of  Fourths,  and  Sixths  are  inversions  of  Thirds. 

SIXTH  MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)   Winter  Jewels;  Teacher's  Manual,  page  167. 
(6)    Miss  Rainy  Day;  Teacher's  Manual,  page  172. 
(c)    The  Goblin;  Teacher's  Manual,  page  169. 

II.  Presentation  of  Notation.     Book  One,  Chapter  I,  is  to  be  studied  thus: 
(a)    Write  "Good  Morning,"  1  on  the  board,  the  phrases  one  above  the 
other  as  in  the  book.    Children  sing  the  song,  the  teacher  indicating 
the  flow  of  the  tones  with  a  sweep  of  the  pointer  across  the  phrase. 
(6)    Study  phrases  as  such,  making  comparisons,  noting  repetitions,  etc. 

(c)  Locate  the  motives  and  figures  by  position  in  the  song. 

(d)  Sing  the  song  from  the  book. 

(e)  Take  steps  (6)  and  (c)  with  the  song  as  it  appears  in  the  book. 

When  the  class  has  studied  "  Good  Morning,"  as  here  outlined,  take  "  A 
Good-by  Song  "  2  and  "  Fido  and  His  Master  "  3  in  the  same  manner.     The 

1  Book  One,  page  5;  Teacher's  Manual,  page  187. 

2  Book  One,  page  6;  Teacher's  Manual,  page  188. 
8  Book  One,  page  7;  Teacher's  Manual,  page  188. 


SECOND  GRADE  —  MONTHLY  OUTLINES 


57 


teacher  can  then  judge  whether  or  not  it  is  wise  to  take  the  remaining  songs 
of  Chapter  I  from  the  book  without  preliminary  work  on  the  board.  Some 
classes  will  do  this  readily,  but  it  is  not  well  to  crowd  the  children  too 
rapidly. 

(For  detailed  suggestions  see  Introduction  to  Second  Grade,  Teacher's 
Manual,  page  39.) 

HI.  Work  in  Eye  Training.    Visualization  Drills. 

For  these  drills  use  the  motives  and  figures  of  Chapter  I.    These  may 
be  summarized  as  follows: 


Table  of  Figures  in  Chapter  I 


Ex.  1 


*ft 


m^^^^^^^^^m 


Ex.  2  a 


m 


i 


t= 


Ex.  3  a 


f£§ 


5 


^^J 


r 


*E$ 


Ex.4 


i 


3 


m 


Ex.  5  a 


m^m 


£ 


F 


f= 


3= 


Ex.  6  a 


EP^E 


^m 


=F= — f 


i 


II 


Ex.  7  a 


=1 


S^gg^ 


+—  y 


58 


TEACHER'S   MANUAL 


SEVENTH  MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)   The  Umbrella  Man;  Teacher's  Manual,  page  170. 

(6)    The  Windflower;  Teacher's  Manual,  page  173. 

(c)    The  Cats  of  Kilkenny;  Teacher's  Manual,  page  179. 

II.  Development  of  Notation.    Book  One,  Chapters  II  and  III. 

(a)    The  first  few  songs  are  presented  first  from  the  board,  then  from  the 
book. 

(6)    Study  phrases,  noting  repetitions. 

(c)    Locate  motives  and  figures. 

When  the  topics  of  the  chapter  are  clear  to  the  children,  the  remain- 
ing songs  of  the  chapter  may  be  taken  directly  from  the  book. 

III.   Work  in  Eye  Training.    Visualization  Drills. 

Use  the  motives  and  figures  of  Chapters  II  and  III.    These  may  be 
summarized  as  follows: 


Table  of  Figures  in  Chapter  II 


Ex.  1 


Ex.  2  o 


A^ 


1 1 


flP^^l 


Ex.  3  a 


$ 


i 


3^± 


=! 


m      P 


r^i£=£^^=g 


Ex.  4  a  b 

te^Svzfzq-^r  zzjz 


£& 


) 


0    * 


•I 


•     * 


w=mm 


» 


Ex.  5  a 

it 


m& 


£e 


1=1=1^= 


» — '- 


SECOND   GRADE  —  MONTHLY  OUTLINES 


59 


Ex.  6  a 


m 


-#  r  0- 


333 


$3^FT3% 


Ex.  la 


ejpf§^j^e^ 


=1=^=1 


* — * — d 


m 


Table  of  Figures  in  Chapter  III 


Ex.  1  a 


i=t=i 


& 


=F=t 


«  -* 


I 


iHi 


****& 


S^^^^^^^S 


=#=3= 


Ex.  2  a 


iE5=j=^ 


3 


p^3^i 


] 


^S 


-* — «- 


»   * 


=i=t= 


=t= 


i 


* — •- 


::! 


3=^ 


=1= 


=1=1 


=pT-=^ 


t= 


Ex.  3  a 


I 


1=k 


d      «- 


*= 


P 


-t 


£S 


f^ 


J  ' 


-•— *- 


^ 


-*— * 


^=£^ 


■ 


\  'W 


t- 


Ex.4 


.* 


u 


g^^k^M=fegEfr=^ 


^1 


P3^= 


^=pc 


I 


60 


Ex.  5  a 
± 


i^s 


TEACHER'S   MANUAL 
ft  c  d 

mm 


•  » 


t= 


mmm 


^ 


m      • 


»      * 


< 


t= 


E^igiii 


Ex.  6  a  ft 


6 


:*=S: 


'f 


*^F 


^i 


P=P 


P 


^ifefB 


Ex.  7  a 


=1=1=: 


=1 


J 


r)=d; 


J"' 


« 


8^E 


"•— *- 


^ 


3^_ 


:=P 


a 


EIGHTH  MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    The  Naughty  Tulip;  Teacher's  Manual,  page  178. 
(6)    The  Scissors  Grinder;  Teacher's  Manual,  page  174. 
(c)    Little  Robin  Redbreast;  Teacher's  Manual,  page  176. 

II.  Development  of  Notation.    Book  One,  Chapters  IV  and  V. 

These  songs  are  to  be  taken  according  to  the  directions  for  Grade  II, 
outline  for  seventh  month,  Step  II,  page  58. 

IQ.  Work  in  Eye  Training.    Visualization  Drills. 

Use  the  motives  and  figures  of  Chapters  IV  and  V.    These  may  be 
summarized  as  follows: 


Table  of  Figures  in  Chapter  IV 


Ex.  1 


y 


■fl\  ,  -r 


.: 


33 


i^ 


1^ 


-0—m- 


f 


j=t 


' 


SECOND   GRADE  —  MONTHLY  OUTLINES  61 

Ex.  2a  b  c  d  e  f  9  h 


^ 


Sfe 


m^  ? 


■+-*■ 


k        i 


m  n 


1T=* 


t- 


Se 


=1=4 


■+—* 


4 


^ 


+=4 


-*—+- 


=t 


^ 


Ex.  3  a 

3=; 


=t 


/  g 


pe=iT— 


£EE^= 


& 


A;  I 


m  n 


*— » 


=1 


s=i 


=t=* 


-»-*- 


*  -«- 


=!=£ 


=1 


T#— "•" 


J 


IP 


Ex.4 


abc  d  e  f  g  h 


mm 


fc^^fe^j 


j  k  I  m  n  o  p 


mm^m^m^^^^^mmm^^m 


Ex.  5  a  b 

it 


/  <7  A 


*     » 


^^a£E£^±E=F=^I^^F-1^^ 


1= 


F-5- 


4= 


"1 


ifc  z 


m  n 


=j=± 


3t=i 


r: 


3^ 


=i- 


-*-«- 


=i 


-»-*- 


^m 


Ex.  6  a  6 


/  9 


^ 


*     * 


^f=£=  ^=^=^  ?== 


&  i 


m  n 


^=+ 


-+=x_ 


ffi 


=t 


=i 


Iplilip 


Ex.  7  a  b 


att*: 


j  I  j  J  J I J  J  j 


k  I 


e  f 


m  n 


r-4  =j=l 


m 


k^= 


vz-*  + 


»   * 


^fTf?WfPFETE?Sl 


62  TEACHER'S  MANUAL 

Ex.  8  a  b  d 


^m 


m     * 


££ 


g^if^pg 


-g m- 


m       • 


4=t 


II 


I 


-at *- 


* — #■ 


Ex.  9  a 


^E^fel 


J 


•      m~ 


g *' 


g^^r^^^Ft^ 


-g— ♦ 


3i^^§ 


p^p^^^pfl 


^^ 


Ex.  10  a 


: 


^—* 


m 


&m 


p^ 


-1 


=t=t 


Ex.  11  a 


|^ 


r«L=^: 


1= 


m 


1= 


-*— *- 


«. 


ia£#yfcit3 


'= 


I 


^=*= 


*     » 


ii^& 


*F*=t 


=J 


^=h==t 


^=M 


$3£! 


-J 


*Ej 


SECOND  GRADE  —  MONTHLY  OUTLINES 

Ex.  12  a  b  c  d 


63 


i^^p^P^I^ 


j 


m 


i 


^^^^^3E£f=^=f=^^^^^^^£3 


^m 


^=jt 


-^\=\ 


fe^E 


a 


^m^ 


Ex.  13  a 


^g^^=g^ 


p=i 


*  » 


=i= 


J-iO-^- 


* 


=± 


^=pcz=* 


=tq=|: 


^ 


S: 


-=1 


-* — «- 


*_—=*; 


a 


=1==t 


^ * 


=d==f 


-« — *- 


Ex.  14  a 


L^X ^ ^ 


=1 


A 


S 


=± 


^ 


=1 


^ 


^^^^^^p^gpi 


f 


-* — » 


ip 


-* — f 


?^^E: 


f=t= 


^ 


:F=:i= 


±=t= 


^=^- 


*=t 


f= 


Tafr/e  o/  Figures  in  Chapter  V 


Ex.  1 


/  <7 


Hfe^ 


!     * 


=tr=t 


t 


A;  I  m 


nfm^ 


£^ 


E 


TEACHER'S  MANUAL 


Ex.4 


?=&m^^^^^^^ 


g^fe 


l  in  n 


^^rn^rn 


ii 


SECOND   GRADE  —  MONTHLY  OUTLINES  65 

Ex.  8  ..         a  b  c  d  e  f  g 


m 


m^m 


u 


d 


=k 


pE^^EEm 


$0m^m 


m  n 


f       I 


:=i==4 


J II 


Ex.  9  a 

f)                      1 

i 

c 

d 

e 

f 

o 

dk^f— J 

-1 

-3= 

— 1 

0 

*     X 

-J 

— ^ — 

— m~- 

— 0 — 
— 1 

-^- 

— »■— 

— m 

— h 

-    * 

— ■# — 

-J 

_£ — ^_ 

— h 

1= 

— 1 

mm 


:t= 


F=^  R= 


^ 


=t 


^P 


Ex.  10  a    b  c  d  e  f  g  h  i  j  k  I 


mmfnt=^&^\J  j\2j^ 


Ex.  11 


^i 


*=$ 


=j 


t 


t-- 


t 


- 


t 


Fzfcte^eM 


m  n 


f 


PP 


-1 


=t 


:1 


I 


j=^l=*=j 


II 


Ex.  12  a  6 


,c 


Hz 


r^ 


i= 


:t== 


p    r  ~r    f 


*=^ 


fe£ 


*==*: 


-1 


d 


=t 


Ex.  13  a  6 


' 


r 


' 


t 


-! 


3=1=3 


P=t 


-; 


66 


Ex.  14  a 


TEACHER'S  MANUAL 

:  d  e 


1 


H 


=1 


^ 


3fet=^ 


=t= 


1 


*=E 


*=F= 


NINTH  MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)  The  Five  Toes;  Book  One,  page  120.    Teacher's  Manual,  page  260. 

(b)  Little  Miss  Tulip;  Teacher's  Manual,  page  184. 

(c)  Daisy  Nurses;  Teacher's  Manual,  page  180. 

The  books  should  be  in  the  hands  of  the  children  while  learning  "The 
Five  Toes."    (See  Section  2,  Enlargement  of  the  Musical  Vocabu- 
lary, page  76  of  this  Manual.) 

II.  First   Reading   of   New   Songs.    Part  Two,  Chapter  VI. 

The  new  feature  of  this  period  of  the  year's  work  is  the  independent 
recognition  by  the  children  of  previously  studied  figures,  the  teacher 
supporting  their  voices  over  unfamiliar  connecting  passages.  The 
songs  for  this  work  have  not  previously  been  learned  by  rote,  as 
in  the  case  of  all  the  songs  used  for  notation  study  in  the  sixth, 
seventh,  and  eighth  months. 

(For  detailed  suggestions  see  Introduction  to  Second  Grade,  Teach- 
er's Manual,  page  41.) 


Analysis  of  Songs  of  Chapter  VI 
Kitty  Mine;  Book  One,  page  49. 

Familiar  figures  are     do-so-mi-do 
fa-mi-re 
mi-re-do 
la-ti-do 

(Review  figures  in  "Gypsy  Peddler,"  Book  One,  page  20.1) 

1  Teacher's  Manual,  page  199. 


SECOND   GRADE  —  MONTHLY  OUTLINES  67 

Before  and  After  Dark;  Book  One,  page  50.    Teacher's  Manual,  page  218. 
Familiar  figures  are      so-mi-do 

mi-fa-so 
so-la-so 
so-so-do 

(Review  figures  in  "  Cherries," *  "  The  Holiday," 2  and  "  A  Surprise." 3) 

The  Airship;  Book  One,  page  51.    Teacher's  Manual,  page  218. 
Familiar  figures  are      do-mi-so 

so-la-so 
do-so-mi-do 
re-mi-fa-so-la 
so-do 
mi-re-do 

Happy  Thought;  Book  One,  page  52.    Teacher's  Manual,  page  219. 
Familiar  figures  are    so-mi 

so-mi-do 

mi-do 

fa-mi-re-do 

Blowing  Bubbles;  Book  One,  page  52. 
Familiar  figures  are    so-mi-do 
do-ti-la-so 
so-mi 
do-so 
mi-re-do 

At  Night  When  I  Have  Gone  to  Bed;    Book  One,  page  53.     Teacher's 
Manual,  page  219. 
Figures  are  do-mi-so 

so-mi-do 
do-re-mi 

so-fa-mi-re 

fa-mi-re-do 

(Note  the      spliced      and  sequential 
mi-re-do  figures.) 

1  Book  One,  page  10;  Teacher's  Manual,  page  191. 

2  Book  One,  page  15;  Teacher's  Manual,  page  195. 
8  Book  One,  page  24;  Teacher's  Manual,  page  200. 


68  TEACHER'S  MANUAL 

TENTH  MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    The  Pink  Pig;  Book  One,  page  128.    Teacher's  Manual,  page  268. 
(6)    The  Ragman;  Teacher's  Manual,  page  182. 
(c)    The  Happy  Bee;  Teacher's  Manual,  page  185. 

"The  Pink  Pig"  is  learned  with  books  in  the  hands  of  the  children. 
(See  Section  2,  Enlargement  of  the  Musical  Vocabulary,  page  76.) 

II.  Reading  of  New  Songs.      Take  the  songs  in  Book  One,  Chapter  VII, 

according    to   the  directions    in  the    outline    for    ninth  month, 
Step  II,  page  66.    (See  Teacher's  Manual,  page  41.) 

Analysis  of  Songs  of  Chapter  VII 
Smiling  Girls,  Rosy  Boys;  Book  One,  page  54. 

Familiar  figures  are    do-ti-do 
mi-re-mi 
do-mi-so 
so-re 
do-so 

so-fa-mi-re 
fa-mi 
fa-re 

The  Farmer;  Book  One,  page  55.    Teacher's  Manual,  page  220. 

Familiar  figures  are    do-mi-so 
so-la-so 
so-mi 
do-re-mi 
mi-fa-mi 
mi-do 
do-mi 
re-fa 
so-do 
mi-so 
ti-do 


SECOND   GRADE  —  MONTHLY  OUTLINES  69 

The  Eskimo  Hunter;  Book  One,  page  56.    Teacher's  Manual,  page  220. 
Familiar  figures  are    so-mi-do 
do-re-do 
la-so 
so-do 
mi-re-do 

The  Golden  Coach;  Book  One,  page  56. 

Familiar  figures  are    so-la-so 
so-mi-do 
so-fa-mi-re-do 

The  tonic-chord  feeling  should  suggest  the  tones  for  "  Tra-la-lay." 

Busy  Folks;  Book  One,  page  57.    Teacher's  Manual,  page  221. 
Familiar  figures  are   do-mi-so 
la-so 
so-mi 
do-ti-la 
la-ti-do 

Teach  do-do-ti-fa  (a  new  figure)  by  rote,  and  have  children 
find  it  in  song. 

The  Mooley  Cow;  Book  One,  page  58. 
Familiar  figures  are   so-do 

do-ti-do 
mi-re-mi 
so-^do 
la-so 
so-mi-do 
Teach  so-fa-so  (third  phrase)  by  rote. 

Baby  Life;  Book  One,  page  59.  Teacher's  Manual,  page  221. 
Familiar  figures  are  re-do-re 
fa-mi-re 
so-la-so 
mi-fa-so 
mi-re-do 
mi-so 


70 


TEACHER'S  MANUAL 


Summary  of  Figures  Outlined  for  Study  in  the  Second  Grade 
(With  the  pages  of  Book  One  where  they  may  be  found) 

It  will  be  observed  that  practically  all  of  these  figures  are  found  in  the 
songs  outlined  for  study  in  this  grade.  The  exceptions  are  included  in  order 
to  complete,  throughout  the  scale,  the  sequential  succession  of  diatonic  and 
interval  figures.    A  number  of  instances  of  " splicing"  are  included. 

(a)    Tonic  Chord  Figures 

do-mi-so-do  Pages  5,  20,  38 

do-so-mi-do  Pages  7,  20,  49,  51 

do-mi-so  Pages  5,  6,  7,  21,  22,  23,  39,  44,  51,  53,  54,  55,  57 

so-mi-do  Pages  7,  10,  12, 13,  21,  23,  39,  44,  47,  50,  52,  53,  55,  56,  57,  58,  59 

do-mi-so  Pages  7,  8 

mi-so-do  Page  8 

mi-so-do  Pages  16,  17 

mi-do-so  Page  44 

so-do-mi-so  Pages  7,  8 

mi-so-do-mi  Page  9 

(b)    Tones  of  the  Tonic  Chord  with  Neighboring  Tones 
Pages  10,  13,  14,  15,  19,  30,  31,  45,  54,  58,  59 
Pages  17,  31,  32,  42,  54,  58 
Pages  11,  18,  27,  31,  52,  55,  59 
Pages  6,  13,  15,  16,  17,  18,  19,  20,  25,  27,  33,  38,  45,  50,  51,  55, 

56,  58,  59 
Pages  7,  10,  14,  16,  17,  18,  24,  26,  29,  31,  33,  34,  37,  48,  56,  59 


do-tii-do 
mi-re-mi 
mi-fa-mi 
so-la-so 

do-re-do 

do-ti 
la-so 
fa-mi 
re-do 

do-re-mi 
mi-re-do 

re-mi-fa 
fa-mi-re 


Derivatives  of  these  Figures 


ti-do 
so-la 


No  attempt  is  made  to  list  the  pages  on  which  these  deriv- 
atives occur,  as  nearly  every  melody  in  the  course  will  in- 
mi-fa  elude  one  or  more  of  them. 

do-re 

(c)    Diatonic  Figures 

Pages  10,  13,  24,  26,  28,  30,  32,  34,  45,  52,  53,  55,  56,  58,  59 
Pages  6,  8,  12,  19,  24,  26,  27,  28,  36,  40,  42,  45,  49,  51,  52,  53, 

56,  59 
Pages  17,  28,  30,  32,  35 
Pages  6,  17,  19,  23,  24,  28,  29,  32,  34,  35,  36,  43,  45,  49,  59 


SECOND  GRADE  —  MONTHLY  OUTLINES  71 

mi-fa-so  Pages  12,  14,  24,  27,  28,  38,  42,  50,  58,  59 

so-fa-mi  Pages  27,  28,  30,  34,  37,  42,  59 

fa-so-la  Page  33 

la-so-fa  Pages  33,  34,  37 

so-la-ti  Pages  16,  22,  23,  45 

ti-la-so  Pages  11,  13,  16,  19,  37 

la-ti-dS  Pages  13,  30,  33,  35,  43,  45,  49,  57 

d3-ti-la  Pages  19,  20,  22,  23,  30,  35,  37,  41,  43,  57 

ti-do-Te  Pages  13,  14,  33,  43,  47 

re-do-ti  Pages  15,  30,  37 

do-re-mi-fa  Pages  25,  29,  30,  35 

fa-mi-re-do  Pages  20,  25,  27,  30,  43,  46,  47,  48,  52,  53 

re-mi-fa-so  Pages  27,  29,  30,  51,  58 

so-fa-mi-re  Pages  6,  20,  24,  29,  31,  33,  34,  37,  48,  53,  54 

mi-fa-so-la  Pages  29,  33 

la-so-fa-mi  Pages  20,  27,  29,  32,  33,  34,  37 

fa-so-la-ti  Page  29 

ti-la-so-fa  (Occurs  frequently  as  part  of  a  larger  progression) 

so-la-ti-do  Pages  10,  12,  21,  22,  23,  33,  45 

do-ti-la-so  Pages  13,  20,  21,  22,  23,  29,  32,  52 

la-ti-do-7e  Pages  16,  33,  43,  47 

re-do-ti-la  Page  37 

ti-do-re-mi  Page  59 

rru-re-do-ti  Pages  13,  31 

do-re-mi-fa-so  Pages  12,  25,  35,  36 

so-fa-mi-re-do  Pages  20,  26,  36,  42,  46,  47,  48,  54,  56 

la-ti-do-Te-mi  Page  35 

re-mi-fa-so-la  Page  51 

so-la-ti-do-Te  Page  36 

re^do-ti-la-so  Pages  13,  21 

\d)  Intervals 

do-mi    Pages  6,  7,  8,  16,  17,  18,  21,  25,  27,  31,  33,  37,  38,  42,  44,  46,  47,  50, 

51,  52,  53,  54,  55,  58 
mi-do    Pages  5,  6,  11,  12,  17,  20,  24,  26,  29,  33,  37,  38,  41,  44,  46,  47,  52,  53, 

54,  55,  56,  58,  59 

T.  M.  Vol.  1—6 


72  TEACHER'S  MANUAL 

re-fa  Pages  18,  42,  54,  55,  59 

fa-re  Pages  5,  15,  39,  40,  42,  44,  45,  46,  47,  54 

mi-so  Pages  6,  8,  11,  13,  15,  18,  24,  31,  33,  34,  37,  38,  42,  51,  52,  53,  54,  55, 

56,  58,  59 

so-mi  Pages  6,  15,  18,  24,  27,  38,  40,  42,  50,  52,  55,  56,  57,  59 

fa-la  Pages  35,  57 

la-fa  Pages  35,  39,  40,  58,  59 

so-ti  Page  46 

ti-so  Pages  46,  47 

la-do  Pages  11,  41,  45 

do'-la  Pages  9,  11,  13,  16,  41,  45,  46,  47,  48,  56,  58 

ti-re  Pages  44,  45,  46 

le-ti  Pages  14,  39,  41,  44,  45,  46 

do-fa  Pages  13,  36,  39,  44,  47 

fa-do 

re-so  Pages  10,  15,  36,  39,  40,  46,  47,  48,  58,  59 

so-re  Pages  34,  38,  42,  54 

mi-la  Pages  32,  35,  37 

la-mi  Pages  35,  37 

fa-ti  Page  37 

ti-fa  Page  57 

soJb~  Pages  7,  8,  10,  13,  19,  25,  26,  32,  33,  37,  41,  42,  47,  48,  50,  51,  55,  56, 

57,  58 

d3-so  Pages  12,  16,  25,  26,  30,  33,  38,  40,  42,  44,  45,  52,  55,  56 

la-re  Page  11 

re-la  Page  35 

ti-mi  Page  47 

mi-ti 

do-so  Pages  5,  7,  12,  41,  47,  49,  50,  52,  54,  56 

so-do  Pages  12,  14,  22,  23,  35.  38.  39,  41  43,  55,  57,  58 

re-la  Page  37 

fa-do  Page  40 

fa-ti  Pages  18,  55 

so-re  Pages  9,  37 

n-so  Pages  9,  10,  14,  21,  25,  43,  56 


SECOND   GRADE  — MONTHLY  OUTLINES  73 

la-mi         Page  41 


so-mi 

Pages  12,  16,  17,  34 

mi-so 

Pages  7,  8,  13,  16,  43 

so-ti 

Page  11 

la-fa 

Pages  43,  46,  47 

do-mi 

Page  51 

mi-do 

Pages  52,  56 

so-fa 

Pages  19,  48 

do-do 

Page  5 

do-do 

Pages  49,  52 

so-so 

Pages  7,  8,  36 

so-so 

Pages  42,  43 

(e)    Additional  Chord  Figures 

fa-re-ti  Pages  39,  44,  45,  47 

la-fa-re  Page  39 

re-ti-so  Pages  46,  47 

so-ti-re  Page  46 

mi-do-la  Page  47 


Third   Grade  —  Syllabus 

I.  ROTE  SONGS.    (Books  in  the  hands  of  the  children) 

1.  Development  of  artistic  singing;  use  of  the  voice 

2.  Enlargement  of  the  musical  vocabulary 

II.  RHYTHMIC   DEVELOPMENT 

1.  Growth  of  the  rhythmic  sense 

(a)    Through  rote  songs 
(6)    Through  singing  games 
(c)    Through  folk  dances 

2.  Study  of  rhythmic  notation 

(a)    Through  scanning  the  poem 

(6)    Through  comparison  and  association  of  the  phrases  of 

new  songs  with  those  of  familiar  songs 
(c)    Through  study  of  comparative  note  values 

III.  SPECIFIC   WORK   IN   EAR   TRAINING 

1.  Organization  and  development  of  the   figure  vocabulary  acquired 

in  the  previous  grade 

(a)  Tonic-chord  figures 

(b)  Diatonic  figures 

(c)  Interval  figures 

(d)  Additional  chord  figures 

2.  Further  enlargement  of  the  vocabulary 

3.  Development  of  the  ability  to  sing  any  tone  of  the  scale  by  relating 

it  with  the  tonic 

4.  Creative  work 

IV.    SPECIFIC   WORK   IN   EYE   TRAINING 

1.  Visualization  drills  for  figures  made  familiar  through  ear  training 

2.  Finding  staff  position  of  tonic  chord  from  the  key  signature 

3.  Written  work 

V.   DEVELOPMENT   OF   THE   SYNTHETIC   PROCESS 

1.  Reversing  former  analytical  process 

2.  Re-reading  familiar  songs 

3.  Reading  new  songs  classified  with  regard  to  figure  content 

4.  Reading  unclassified  songs 

74 


Thied  Geade  —  Tnteobuctiok 

Genetic  psychology  and  the  observation  of  children  engaged  in  learning 
have  shown  that  in  the  primary  grades  the  learning  process  is,  in  the  main, 
one  of  sense  activity.  The  children  are  storing  their  minds  with  sensory 
experiences;  they  are  acquiring  skill  in  doing  by  imitation.  The  introduction 
of  music  to  the  children  during  the  first  two  years  has,  therefore,  been  ac- 
complished by  appealing  primarily  to  the  sense  of  hearing.  Their  experience 
with  music  as  a  form  of  expression  and  their  skill  in  singing  have  been  acquired 
by  imitation. 

The  children  of  the  third  grade  are  in  an  intermediate  stage  of  develop- 
ment, a  stage  of  growth  between  that  of  the  Sensory  Period  and  the  Associative 
Period,  manifesting  tendencies  and  characteristics  peculiar  to  the  former  and 
foreshadowing  those  of  the  latter.  The  teaching  of  music  should,  therefore, 
still  consist  in  part  of  imitative  song  singing  and  in  the  further  training  of  the 
senses  of  hearing  and  visualization.  The  material  for  this  definite  training 
should  still  be  concrete;  that  is,  it  should  consist  of  the  same  motives  and 
figures  that  were  found  in  the  songs  of  the  previous  grades.1  On  the  other 
hand,  with  the  aim  in  view  of  appealing  to  the  growing  power  of  association, 
the  work  should  develop  the  synthetic  process  of  applying  this  expanding 
vocabulary  of  musical  ideas  to  the  reading  of  new  songs  with  growing 
independence. 

With  the  type  of  rote  songs  designated  as  observation  songs  as  a  working 
basis,  and  by  a  process  of  analysis,  the  children  have  become  acquainted  with 
the  elements  of  song  —  the  phrase,  the  motive,  and  the  figure. 

This  vocabulary  of  musical  ideas  they  are  now  to  apply  in  practice  by 
synthetically  combining  these  familiar  elements  into  new  and  unfamiliar 
relations. 

I.   ROTE   SONGS 
1.  Development  of  Artistic  Singing 

With  the  growing  interest  in  music,  with  the  development  of  the*  powers 
of  imagination,  impersonation,  and  dramatization,  with  the  gradual  elimi- 
nation of  monotones,  and  with  the  increasing  facility  on  the  part  of  the 
children  in  expressing  feeling  through  the  medium  of  the  singing  voice,  we  may 
expect  and  demand  a  finer  quality  of  singing  and  a  higher  degree  of  artistic 
interpretation. 

Every  song  is  a  medium  for  the  expression  of  an  artistic  ideal.  More 
and  more  the  children  should  be  encouraged  to  suggest  the  appropriate 
interpretation  of  the  songs  they  are  studying. 

1  See  Summary  ou  page  70. 
75 


76  TEACHER'S  MANUAL 

2.  Enlargement  of  the  Musical  Vocabulary 

The  art  songs  of  the  course  are  not  technically  limited  to  the  equipment 
of  the  pupils.  Through  familiarity  with  such  songs  the  musical  experience 
and  vocabulary  of  the  children  will  be  enriched  because  of  the  many  new  and 
interesting  rhythmic  and  melodic  effects  found  in  the  songs.  These  effects, 
experienced  subconsciously,  will  become  the  problems  of  the  succeeding 
grades,  to  be  consciously  mastered.  In  the  following  years  they  will  be  re- 
called as  past  experience  and  will  serve  as  a  basis  for  further  definite 
musical  development  by  being  subjected  to  conscious  observation,  study, 
and  drill. 

Indeed,  this  process  may  be  foreshadowed  in  the  third  grade,  by  teaching 
the  rote  songs  with  the  books  in  the  hands  of  the  children.  Many  figures  and 
combinations  common  to  all  musical  literature  are,  by  this  time,  a  usable 
part  of  the  children's  sound  and  sight  vocabulary.  The  children  should, 
therefore,  be  encouraged,  in  learning  these  rote  songs,  to  recognize  the  familiar 
figures,  in  order  to  gain  as  much  as  possible  from  the  notation.  They  should 
be  asked  to  follow  the  notation,  phrase  by  phrase,  while  the  teacher  sings  with 
loo.    Ear  and  eye  should  be  trained  to  coordinate  in  this  work. 

II.   RHYTHMIC   DEVELOPMENT 

1.   Growth  of  the  Rhythmic  Sense 

(a)    Through  rote  songs 
(6)    Through  singing  games 
(c)    Through  folk  dances 

These  topics  are  treated  in  this  Manual  on  pages  19  and  103. 

2.   Study  of  Rhythmic  Notation 

(a)   Through  scanning  the  poem 

(6)    Through  comparison  and  association  of  the  phrases 

of  new  songs  with  those  of  familiar  songs 
(c)    Through  study  of  comparative  note  values 

The  music  work  of  the  first  five  months  of  the  third  grade  is  a  develop- 
ment and  enlargement  of  similar  work  in  the  last  two  months  of  the  second 
grade.  The  teacher  is  referred  to  the  directions  on  pages  19,  36,  and  41  of 
this  Manual  for  guidance  in  her  work  during  these  months. 

Beginning  with  the  outline  for  the  sixth  month  of  the  third  grade,  a  greater 
independence  is  required  of  the  children.  The  whole  of  Book  Ore,  Part  Two, 
is  devoted  to  the  development  of  a  plan  for  training  children  to  attack  musical 


THIRD   GRADE  —  INTRODUCTION  77 

problems.  Part  Three  offers  material  for  the  independent  exercise  of  this 
power.  The  songs  are  no  longer  presented  in  consecutive  order  according  to 
technical  considerations,  with  ready  reference  to  familiar  songs  embodying 
similar  ideas.  Neither  are  they  invariably  printed  one  or  two  phrases  to  a 
line,  as  in  Parts  One  and  Two,  but  frequently  the  phrase  is  broken.  Here  the 
child's  experience  in  poetic  scansion  must  guide  him  in  determining  the  phrase 
analysis  of  the  song.  Here,  too,  the  experience  gained  through  frequent  com- 
parison of  phrase  rhythms  of  familiar  and  unfamiliar  songs  must  suggest  to 
him  the  rhythmic  flow  of  the  new  song.  The  great  amount  of  detailed  analy- 
sis of  the  notation  of  the  songs  of  Part  One  and  its  application  in  the  study  of 
the  songs  of  Part  Two  will  have  given  the  pupil  a  basis  for  determining  the 
rhythm  of  the  new  songs  from  their  notation.  The  songs  of  Part  Three  offer 
no  new  rhythmic  problems;  there  is  scarcely  a  phrase  but  has  its  rhythmic 
prototype  in  one  or  more  earlier  songs.  Through  the  three  steps  outlined 
above,  the  children  must  determine  the  rhythm  of  the  new  song,  and,  with 
the  least  possible  assistance  from  the  teacher  and  in  a  large  measure  individu- 
ally, must  apply  their  knowledge  in  reading  the  new  song. 

III.    SPECIFIC   WORK   IN   EAR   TRAINING 

1.   Organization  and  Development  of  the  Figure  Vocabulary  acquired 
in  the  Previous  Grade 

An  examination  of  the  summary  of  figures  given  at  the  end  of  the  outline 
for  the  second  grade 1  shows  that  the  children  have  an  acquaintance  with  a 
large  number  of  figures  commonly  found  in  music.  This  vocabulary  has  been 
gained  through  experience  with  songs,  which,  by  ear  analysis,  were  reduced 
to  their  constituent  elements  —  phrases,  motives,  and  figures.  The  summary 
of  figures  quoted  above  indicates  the  various  pages  of  Book  One  on  which 
each  figure  occurs.  The  drill  on  figures  as  conducted  in  the  second  grade 
may,  therefore,  be  said  to  be  rational,  or  concrete,  in  that  each  figure  has  been 
associated  with  the  songs  of  which  it  is  a  part. 

Although,  in  the  second  grade,  the  development  of  the  children's  vocabulary 
of  figures  was  materially  facilitated  by  the  fact  that  the  songs  of  Book  One, 
Part  One,  were  organized  into  successive  chapters,  no  attempt  was  made  at 
a  formal  organization  of  these  figures  in  the  minds  of  the  children.  This  was 
because,  in  the  Sensory  Period,  it  is  advisable  to  maintain  a  concrete  relation- 
ship between  figure  and  song.  Further  progress  requires  formal  drill  and 
repeated  associations.  The  third  grade,  being  a  transitional 2  stage  of  de- 
velopment, foreshadows  some  of  the  traits  of  the  Associative  Period,  notably 
the  susceptibility  to  drill  and  the  power  of  applying  experience.    In  the  third 

1  See  Teacher's  Mauual,  page  70.  *  Teacher's  Manual,   pages  3  and  75. 


78  TEACHER'S  MANUAL 

grade,  therefore,  we  may  profitably  engage  in  drills  more  formal,  or  abstract, 
than  has  heretofore  been  advisable. 

(a)    Tonic-Chord  Figures 

Tonic-chord  figures  have  been  so  constantly  before  the  children  in  the 
lower  grades  that  little  formal  drill  will  here  be  necessary.  These  figures  and 
their  interval  derivatives  should  be  dictated  to  the  class  without  reference  to 
particular  songs  in  which  they  occur.  The  teacher  sings  the  figure  with  loo 
and  the  class  or  individuals  respond  with  the  so-fa  syllables. 

(6)    Diatonic  Figures 

Such  figures  as  are  conspicuous  in  the  songs  of  Chapters  II  and  VII  may 
be  organized  for  formal  drill  as  follows: 

*  do-re-do  *  do-ti-do 
re-mi-re  re-do-re 

*  mi-fa-mi  *  mi-re-mi 
fa-so-fa  fa-mi-fa 

*so-la-so  so-fa-so 

la-ti-la  la-so-la 

ti-do-ti  ti-la-ti 

This  exercise  will  add  nine  new  figures  to  the  children's  vocabulary,  those 
marked  with  an  asterisk  being  listed  in  the  summary  at  the  close  of  the  second 
grade  outline.  Similar  drills  should  be  conducted  with  three  tones  ascending 
and  descending  as  found  in  the  summary  of  figures  for  second  grade.1  The 
following  is  a  variation  of  this  drill : 

do-mi-re  mi-do-re 

re-fa-mi  fa-re-mi 

mi-so-fa  so-mi-fa 

fa-la-so  la-fa-so 

so-ti-la  ti-so-la 

la-do-ti  do-la-ti 

ti-re-do  re-ti-do 

Drills  should  also  be  given  on  figures  of  four  and  five  tones  of  the  scale, 
ascending  and  descending.1    Far  from  being  mechanical,  these  sequence  studies 

1  See  Teacher's  Manual,  page  70. 


THIRD   GRADE  —  INTRODUCTION  79 

will  be  found  in  many  of  the  best  vocalises  of  the  great  singing  masters  and 
in  the  scores  of  such  works  as  "The  Messiah,"  "The  Creation,"  etc. 

(c)    Interval  Figures 

The  table  of  intervals  of  thirds  and  fourths  will  be  found  complete  in  the 
second-grade  outline.1  They  should  be  sung  sequentially,  as  was  recommended 
for  the  diatonic  figures.  Intervals  larger  than  a  fourth  are  comparatively 
infrequent  and  therefore  need  not  be  given  formal  drill  in  this  grade. 

(d)    Additional  Chord  Figures 

With  the  tonic  chord  figure  do-mi-so  as  a  pattern,  it  will  not  be  difficult 
for  the  children  to  work  out  the  additional  chord  figures  in  the  scale.  Most 
of  these  have  already  occurred  in  the  children's  songs.  For  the  teacher's 
convenience  the  entire  list  is  given: 


The  purpose  of  these  drills  is  to  give  the  children  the  same  facility  in 
tone  thinking  and  singing  that  they  exercise  daily  in  language  thinking  and 
speaking.  They  must  learn  to  make  the  tonal  associations  without  effort, 
almost  automatically.  It  is  possible  to  accomplish  this  only  by  frequent 
repetition  in  drill. 

2.  Further  Enlargement  of  the  Vocabulary 

By  making  New  Combinations  of  Derivatives  of  Familiar  Figures 

In  language  reading,  when  the  children  have  gained  a  vocabulary  of  sight 
words,  these  are  subjected  to  analysis  and  drill.  For  instance,  by  analysis 
the  word  "make"  is  found  to  consist  of  the  phonetic  elements  "m"  and  "ake"; 
the  word  "ran"  of  "r"  and  "an."  By  interchanging  the  consonant  prefixes 
and  the  phonograms,  the  children  build  or  blend  them  into  the  words  "rake" 
and  "man."    By  using  other  consonant  prefixes,  as  found  in  other  words,  in 

1  See  Teacher's  Manual,  page  56. 


80  TEACHER'S  MANUAL 

connection  with  these  phonograms,  a  list  of  "family  words"  is  developed. 
The  following  are  additional  examples: 


bake 

ban 

cake 

can 

lake 

fan 

rake 

ran 

sake 

tan 

take 

van 

In  the  same  way,  by  recombining  the  derivatives  of  familiar  music  figures, 
we  may  build  figures  new  to  the  child's  experience.  For  instance,  the  motives, 
do-mi-mi-so,  found  in  "A  Good-by  Song,"  Book  One,  page  6,1  and  mi-so-do-mi, 
in  "Bubbles,"  Book  One,  page  9,2  are  merely  combinations  of  the  tonic  chord 
derivatives,  do-mi  and  mi-so. 

In  like  manner,  by  blending  re-do,  a  derivative  of  the  figure  do-re-do,  with 
ti-do,  a  derivative  of  the  figure  do-ti-do,  we  may  secure  the  new  figures 
do-re-ti-do  and  do-ti-re-do,  both  of  which  are  commonly  found  as  phrase  end- 
ings or  cadences.  See  " Street  Music," Book  One,  page  70,3  and  "The  Rooster's 
Good  Morning,"  Book  One,  page  74. 4 

All  familiar  motives  and  figures  should  be  reduced  to  these  smaller  ele- 
ments of  two  or  three  tones.  It  is  the  thorough  appreciation  of  the  fact  that 
all  musical  ideas  are  spun  or  woven  together  out  of  these  small  melodic  frag- 
ments that  will  enable  the  children  to  think  logically  and  intelligently  in 
music,  and  later,  in  reading,  to  grasp  the  thought  of  the  composer. 

3.  Development  of  the  Ability  to  Sing  Any  Tone  of  the  Scale  by 
Relating  it  with  the  Tonic 

The  study  of  figures  as  outlined  in  the  foregoing  paragraphs  has  done  more 
than  simply  fix  a  vocabulary  of  figures  in  the  minds  of  the  children.  The 
scale  has  been  thoroughly  studied  in  all  its  tonal  relations.  A  feeling  for  to- 
nality has  been  developed  by  constant  reference  to  the  tonic  chord,  and  all 
the  usual  diatonic  and  interval  progressions  have  been  made  familiar.  The 
function  and  place  of  each  tone  in  the  scale  has  been  made  clear.  It  should 
now  be  comparatively  easy  for  the  children  to  think  and  sing  any  given  tone 
from  dictation  by  relating  it  with  the  tonic,  or  key  tone,  and  to  attack  a 
phrase  or  a  familiar  figure  beginning  on  any  tone  of  the  scale.  Until  the  chil- 
dren can  do  this  successfully  they  will  be  more  or  less  dependent  upon  the 
help  of  the  teacher. 

1  Teacher's  Manual,  page  188.  3  Teacher's  Manual,  page  226. 

2  Teacher's  Manual,  page  189.  4  Teacher's  Manual,  page  228. 


THIRD  GRADE  —  INTRODUCTION  81 


4.   Creative  Work 


With  a  little  encouragement  the  children  may  be  led  to  do  interesting 
creative  work  in  the  invention  of  original  phrases  by  rearranging  the  familiar 
figures  of  their  vocabulary.  This  may  be  done  with  lines  of  poems  or  with 
Mother  Goose  jingles,  which  may  serve  as  rhythmic  patterns  or  suggestions. 
The  object  is  not  to  develop  would-be  composers;  its  immediate  purpose  is 
to  develop  the  ability  to  think  and  to  express  musical  ideas  by  means  of 
familiar  tonal  relations. 


IV.    SPECIFIC   WORK   IN   EYE   TRAINING 

1.   Visualization  Drills  for  Figures  made  Familiar  through  Ear  Training 

Closely  associated  with  the  foregoing  work  in  ear  training,  consistent  drills 
in  the  visualization  of  familiar  figures  and  their  derivatives  should  be  given. 
The  picture  of  the  note  heads  upon  the  staff  expressing  these  relations  should 
be  made  a  vivid  mental  image  by  constant  drill.  The  association  of  the 
tonal  effect  of  a  figure  with  its  notation  should  become  as  instantaneous  as 
the  recognition  of  a  word  of  three  or  four  syllables  or  a  group  of  three  or  four 
short  words  in  language  reading. 

2.   Finding  Staff  Position  of  the  Tonic  Chord  from  the  Key  Signature 

To  further  the  children's  independence  of  the  teacher,  they  should  now 
be  taught  how  to  find  the  staff  position  of  the  tonic  chord  by  a  glance  at  the 
key  signature.  On  a  corner  of  the  blackboard  the  teacher  may  write  upon  a 
staff  the  signatures  of  the  nine  more  commonly  used  keys,  with  do-mi-so-do 
in  staff  notation  immediately  following  each  signature.  She  may  also  teach 
the  following  rules  for  independently  locating  the  tonic  chord: 

(a)  When  flats  are  in  the  signature,  the  flat  farthest  to  the  right  is  on  the 
same  staff  degree  as  fa.  Therefore  so  is  on  the  next  staff  degree  above. 
Locate  so-mi-do  on  descending  lines  (or  spaces,  as  the  case  may  be)„ 

(6)  When  sharps  are  in  the  signature,  the  sharp  farthest  to  the  right  is 
on  the  same  staff  degree  as  ft".  Therefore,  if  ti  is  on  a  line,  so-mi-do  will 
be  found  on  the  next  three  descending  lines;  if  ft"  is  in  a  space,  so-mi-do  will 
be  found  in  the  next  three  descending  spaces. 

(c)  With  no  sharps  or  flats  in  the  signature,  do-mi-so  is  on  the  first  line 
below,  the  first,  and  the  second  lines. 

The  rules  (a)  and  (6)  are  of  lasting  value  when  it  is  remembered  that  they 
apply  equally  to  the  bass  clef  and  to  various  other  clefs. 

The  teacher,  in  assigning  a  song,  should  mention  the  page  and  the  title, 
and  sound  do.    The  children  should  locate  the  tonic  chord  from  the  signature, 


82  TEACHER'S   MANUAL 

and  think  the  pitch  and  name  of  the  first  tone  by  relating  it  with  the  tonic 
chord.  Beginning  with  the  first  tone,  the  phrases  and  motives  will  consist 
of  a  joining,  splicing,  or  interweaving  of  familiar  figures. 

3.   Written  Work 

Some  teachers  find  a  limited  amount  of  written  work  of  value  in  the  fix- 
ing of  staff  pictures.  This  work  should  always  deal  with  concrete  ideas. 
The  first  step  should  consist  of  copying  familiar  phrases,  motives,  and  figures. 
The  second  step  should  be  the  writing  of  these  from  memory.  For  the  third 
step,  the  teacher  may  dictate  an  original  phrase,  consisting  of  familiar  figures 
which  the  children  will  sing  with  syllables  (as  in  ear  training)  and  then  write 
out  in  staff  notation.  Finally  they  may  be  encouraged  to  write  out  then- 
own  musical  inventions,  which  may  consist  of  familiar  figures  rearranged  and 
combined. 

V.   DEVELOPMENT   OF  THE   SYNTHETIC   PROCESS 

1.  Reversing  Former  Analytical  Process 

The  new  work  is  the  process,  already  described,  of  reading  new  songs  by 
synthetically  blending  familiar  figures  into  new  phrases.  It  is  the  reverse  of 
the  former  analytical  process.    Song  observation  consisted  of: 

1.  Learning  words  and  melody  by  rote. 

2.  Singing  with  loo. 

3.  Recognition  of  phrase  repetition. 

4.  Application  of  syllables. 

5.  Study  of  motives  and  figures. 

The  new  reading  process  consists  of : 

1.  Scanning  words  of  poem  to  get  the  rhythm. 

2.  Study  of  familiar  figures. 

3.  Singing  of  familiar  figures  by  syllables. 

4.  Study  of  separate  phrases,  observing  phrase  repetition. 

5.  Singing  entire  song  with  syllables,  with  loo,  and  with  words. 

2.   Re-reading  Familiar  Songs 

It  will  be  noted  that  the  third-grade  outline  suggests  that  the  first  month's 
work  should  be  a  review  of  the  songs  of  Chapters  I  and  II,  followed  by  read- 
ing the  songs  of  Chapters  VI  and  VII.  In  succeeding  months  Chapter  VIII 
should  be  preceded  by  reviewing  Chapter  III,  Chapter  IX  by  Chapter  IV, 
Chapter  X  by  Chapter  V.  By  this  plan  the  study  of  each  new  chapter  is 
preceded  by  the  re-reading  of  a  familiar  chapter  containing  similar  problems. 


THIRD  GRADE  —  INTRODUCTION  83 

The  importance  of  this  review  in  re-reading  with  syllables  the  familiar 
songs  of  Part  One  can  hardly  be  overemphasized.  In  language  reading  the 
children  gain  facility  in  ready  word  recognition  by  frequently  re-reading 
familiar  stories.  Just  so,  in  the  music  work,  they  will  acquire  facility  in 
tone  thinking,  in  sensing  rhythmic  effects,  and  in  the  instant  recognition  of 
note  groups  representing  musical  ideas,  by  the  frequent  re-reading  of  familiar 
songs  from  the  notation.  The  review  of  Part  One  of  Book  One  is,  therefore, 
of  decided  importance. 

3.  Reading  New  Songs  Classified  with  Regard  to  Figure  Content 

Because  of  the  arrangement  of  the  chapters  of  Part  One  and  Part  Two  in 
pairs,  Chapter  I  corresponding  to  Chapter  VI,  Chapter  II  to  Chapter  VII, 
etc.,  the  type  of  prominent  figures  in  the  songs  of  each  pair  of  chapters  being 
the  same,  it  is  possible  to  establish  a  constant  flow  of  associations  between  the 
familiar  and  the  unfamiliar  material. 

For  those  advanced  schools  where  the  assignments  from  Book  One  can 
be  covered  rapidly,  additional  material  is  provided  in  the  Primary  Song  Book. 
It  will  be  noted  that  the  chapters  in  the  Primary  Song  Book  correspond  in 
classification  to  those  of  Book  One. 

4.  Reading  Unclassified  Songs 

By  the  time  Part  Three  of  Book  One  is  reached  the  children  will  have  had 
considerable  experience  in  attacking  an  unfamiliar  phrase,  in  getting  at  the 
musical  thought  represented  by  the  symbols,  and  in  giving  it  expression. 
Ready  recognition  of  figures  has  been  facilitated  by  independent  ear  and  eye 
drills  and  by  constant  application  in  reading  the  songs  of  Part  Two. 

In  order  to  throw  the  child  upon  his  own  resources  and  initiative,  the  songs 
of  Part  Three,  though  chosen  with  regard  to  figure  content,  do  not  follow  in 
organized  succession.  They  are  of  the  simplest  character,  as  an  analysis  will 
readily  show.  For  a  more  detailed  discussion  of  the  steps  involved  in  learning 
to  read  a  new  song,  the  teacher  is  referred  to  the  Introduction  to  trie  Second 
Grade,  page  41. 

By  the  close  of  the  year  every  normal  child  should  have  learned  to  sing, 
and  should  be  able  to  read  the  simple  songs  of  Part  Three  of  Book  One  at 
sight. 

The  third-grade  teacher  should  carefully  study  the  outlines  of  the  previous 
grades.  Many  valuable  suggestions  will  be  found  which  pertain  to  her  work 
and  which  need  not  be  repeated  here. 


Third  Grade  —  Monthly  Outlines 

FIRST  MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    The  Firefly;  Book  One,  page  136.    Teacher's  Manual,  page  279. 
(6)    Babyland;  Book  One,  page  116.    Teacher's  Manual,  page  252. 

(c)  Our  Friends  the  Shadows;  Book  One,  page  130.    Teacher's  Manual, 

page  270. 

(d)  Wee  Willie  Winkie;  Book  One,  page  131.  Teacher's  Manual,  page  272. 

The  children  should  have  books  in  hand  while  studying  the  rote  songs  of 
Book  One,  and  should  be  encouraged  to  get  as  much  from  the  notation  as 
possible.1 

H.  Sight  Reading.  The  songs  outlined  under  this  heading  are  to  be 
taken  according  to  the  directions  given  in  the  Outline  for  Second 
Grade,  Ninth  Month,  Step  II,  page  66. 

(a)    Book  One,  Chapters  I  and  II.    (Reviewed  from  Grade  II.) 
(6)    Book  One,  Chapters  VI  and  VII.    (Reviewed  from  Grade  II.) 

(See  Outline  for  Second  Grade,  Ninth  and  Tenth  Months,  for  lists 
of  familiar  figures.) 
(c)    For  supplementary  material,  Primary  Song  Book,  Chapter  I.     (New 
Work.) 

SECOND  MONTH 

I.  Rote  Songs.  Teach  the  following  songs  by  rote  as  suggested  in  Outline 
for  Third  Grade,  First  Month. 

(a)    The  Lonely  Wind;  Book  One,  page  136.    Teacher's  Manual,  page  278. 
(6)    The  Elves  and  the  Shoemaker;  Book  One,  page  116.     Teacher's 
Manual,  page  252. 

(c)  Last  Night;  Book  One,  page  115.    Teacher's  Manual,  page  250. 

(d)  Benediction;  Book  One,  page  132.    Teacher's  Manual,  page  272. 

H.  Sight  Reading.  See  Outline  for  Second  Grade,  Ninth  Month,  Step  II, 
page  66. 

(a)  Book  One,  Chapter  III.    (Reviewed  from  Grade  II.) 

(b)  Book  One,  Chapter  VIII.    (New  Work.) 

(c)  For  supplementary  material,  Primary  Song  Book,  Chapter  II.    (New 

Work.) 

1  See  Teacher's  Manual,  page  76. 
84 


THIRD  GRADE  —  MONTHLY  OUTLINES  85 

Analysis  of  Songs  of  Chapter  VIII 
Sleepyhead;  Book  One,  page  60. 

First  phrase,  the  motive 

mi-re-mi-do  (repeated) 

Second  phrase,  the  familiar  figures 

mi-so,  so-la-so,  and  so-mi 

The  familiar  figures  do-ti-la-so  and  fa-mi-re 

do-ti-do       and  do-re-mi-do 

Katydid;  Book  One,  page  61.    Teacher's  Manual,  page  222. 
The  familiar  figures    mi-fa-so 
la-so 

so-fa-mi  . 
so-fa-mi-re-do 

The  Snail;  Book  One,  page  61.    Teacher's  Manual,  page  222. 
The  familiar  figures   do-re-do 
do-so 
do-ti-do 
la_-ti-do-re-mi 
so-fa-mi-re 
mi-do 
so-fa-mi-re-do 

Air  and  Sunlight;  Book  One,  page  62.    Teacher's  Manual,  page  223. 

The  first  motive  is  made  of  spliced  figures 

so-fa-mi 

mi-fa-so 

so-mi 
A  new  motive  of        ti-la-so 

so-ti  (spliced) 
The  familiar  figures   so-fa-mi-re-do 

do-so 


86  TEACHER'S  MANUAL 

To  a  River;  Book  One,  page  62. 

Made  of  the  familiar  figures 

do-re-mi-fa 

so-mi 

so-fa-mi-re-do 

The  Flowers'  Friends;  Book  One,  page  63.    Teacher's  Manual,  page  223. 

The  first  motive  so-so-mi-do  is  made  of  the  familiar  figure  so-mi-do. 
The  figure  fa-la-so  may  require  assistance;  la-so  is  a  derivative  of  so-la-so. 
The  next  phrase  is  a  repetition. 
The  next  two  phrases  are  made  of  the  scale  with  repeated  tones. 

Of  Things  You  Can  Buy;  Book  One,  page  64. 
The  familiar  figures    so-do 

do-re-do 

do-re-mi 

mi-fa-mi 

mi-so 

la-ti-do 

The  other  portions  of  the  song  are  composed  of  derivatives  in  dia- 
tonic progressions. 

THIRD  MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)   Thanksgiving    Day;     Book    One,    page  141.     Teacher's    Manual, 

page  284. 
(6)    The  Gingerbread  Man;  Book  One,  page  113.     Teacher's  Manual, 

page  248. 

(c)  The  Recipe;  Book  One,  page  124.    Teacher's  Manual,  page  264. 

(d)  The  Squirrel  in  the  Snow;  Book  One,  page  129.    Teacher's  Manual, 

page  269. 

II.  Sight  Reading.     See  Outline  for  Second  Grade,  Ninth  Month,  Step  II, 
page  66. 

(a)   Book  One,  Chapter  IV.    (Reviewed  from  Grade  II.) 
(6)    Book  One,  Chapter  IX.    (New  Work.) 

(c)    For  supplementary  materia],  Primary  Song  Book,  Chapter  III.    (New 
Work.) 


THIRD   GRADE  —  MONTHLY  OUTLINES  87 

Analysis  of  Songs  of  Chapter  IX 

Higgledy,  Piggledy;  Book  One,  page  65.    Teacher's  Manual,  page  224. 
The  familiar  figures   so-la-ti 
do-U-la 
so-la-ti-do 

The  second  phrase  is  a  sequential  repetition  of  the  first. 
The  third  phrase  is  made  of  sequences 

mi-re-do 

fa-mi-re 

so-fa-mi 

The  teacher  may  give  help  in  joining  these. 
The  fourth  phrase      so-fa-mi-re 

do-ti-la 

so-la-ti-do     consists  of  familiar  figures. 

Signs;  Book  One,  page  66. 

The  first  phrase  consists  of  the  familiar  figures 
so-la-so 
so-fa-mi 

The  second  phrase  is  a  sequential  repetition,  one  step  lower. 
The  third  phrase  consists  of  the  familiar  figures 

so-mi 
fa-mi-re-do 

The  Boat;  Book  One,  page  66.    Teacher's  Manual,  page  225. 

The  familiar  figures  mi-fa-so 

fa-mi-re 

so-la-so 

do-re-mi 

re-mi-fa 

mi-re-d*<> 

T,  M.  Vol.  1—7 


88  TEACHER'S  MANUAL 

My  Pony;  Book  One,  page  67.    Teacher's  Manual,  page  225. 
First  phrase  so-mi-re-mi 

mi-fa-so     (spliced) 

Second  phrase  so-fa-mi     (practically  a  sequential  repetition 

of  the  first  phrase) 
fa-so-la 

Third  phrase  ti-do-re-do 

la-so-fa-mi 
Fourth  phrase  mi-fa-so 

la-ti-do 

My  Dolly's  Name;  Book  One,  page  68. 

All  familiar  figures     so-fa-mi-re-do 
mi-re-do 
do-re-mi-fa 
mi-fa-so-la 
so-la-ii-do 
do-mi-re-do 

My  Valentines;  Book  One,  page  68. 

All  familiar  figures     do-re-mi-fa 
so-la-so 
la-so-fa 
so-fa-mi 
mi-re-do 

Bee  Song;  Book  One,  page  69.    Teacher's  Manual,  page  226. 

The  figure  re-so-do  in  the  first  phrase  may  require  some  study,  although 
the  intervals  re-so  and  so-do  are  familiar. 

The  other  figures        so-mi-do 
fa-mi-re 
so-fa-mi 
Note  the  recurring  phrases. 


THIRD   GRADE  —  MONTHLY  OUTLINES  89 

FOURTH  MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)   The  Clock;  Book  One,  page  118.    Teacher's  Manual,  page  255. 
(6)    A  Carriage  to  Ride  In;  Book  One,  page  123.     Teacher's  Manual, 
page  263. 

(c)  O  Christmas  Tree;  Book  One,  page  125.   Teacher's  Manual,  page  265. 

(d)  Strange  Lands;  Book  One,  page  120.    Teacher's  Manual,  page  259. 

II.  Sight  Reading.    See  Outline  for  Second  Grade,  Ninth  Month,  Step  II, 
page  66. 

(a)   Book  One,  Chapter  V.    (Reviewed  from  Grade  II.) 
(6)    Book  One,  Chapter  X.    (New  Work.) 

(c)    For   supplementary  material,   Primary   Song    Book,    Chapter   IV. 
(New  Work.) 

Analysis  of  Songs  of  Chapter  X 

Street  Music;  Book  One,  page  70.    Teacher's  Manual,  page  226. 
The  familiar  figures   mi-so 
fa-re 
mi-do 
so-mi 
re-so 
so-do 
do-re-ti-do 

At  the  Dance;  Book  One,  page  71.    Teacher's  Manual,  page  126. 
Note  the  repeated  figures  and  the  motives. 

mi-fa-so 
mi-re-do-mi 
re-ti-so 
do-ti-do-re-mi 
do-mi-re-ti-do 


90  TEACHER'S  MANUAL 

The  Maypole  Dance;  Book  One,  page  72.    Teacher's  Manual,  page  227. 
The  familiar  figures   do-do-ti 

so-la-ti-do 

do-mi     (last  two  are  spliced) 

mi-do 

re-mi-fa 

re-ti 

do-mi-so 

re-ti-do 

Feeding  the  Flock;  Book  One,  page  73. 
The  familiar  figures   so-do 

do-mi-so 

so-mi-do 

fa-re-ti 

re-do-ti 

fa-mi-re 

Note  that  the  last  four  tones  of  the  first  phrase,  fa-re-ti-do,  are  identical 
with  the  last  four  tones  of  "The  Maypole  Dance,"  though  differing 
rhythmically.  The  third  phrase,  though  composed  of  familiar  fig- 
ures and  derivatives,  may  require  some  assistance  from  the  teacher. 

The  Rooster's  Good  Morning;   Book  One,  page  74.     Teacher's  Manual, 
page  228. 
The  first  phrase  consists  of  the  following  derivatives: 

mi-fa 

re-do 

do-so 

The  intervals  are  familiar  la-do 

ti-re 

Coasting;  Book  One,  page  74. 

For  the  figure  re-ti-so  see  Book  One,  pages  46  and  47. 

Third  phrase  la-do-fa-la,  the  subdominant-chord  melody,  should  be 

taught  by  rote. 
Fourth  phrase,  the  octave  figure  so-so  (occurring  four  times). 
The  other  figures  so-mi-do  and  do-re-do  are  familiar. 


THIRD   GRADE  —  MONTHLY  OUTLINES  91 

Dancing  Raindrops;  Book  One,  page  75.    Teacher's  Manual,  page  228. 
The  familiar  figures    so-do 

do-so 

la-so 

ti-la-so 

fa-ti-do 
Teach  by  rote  so-ti 

la-fa 

fa-la 

Teacher  may  help  in  connecting  the  two  figures  in  the  last  phrase. 

Mistress  Mary;  Book  One,  page  76.    Teacher's  Manual,  page  229. 
The  familiar  figures   so-do 

do-so 

la-do 

do-la 

so-la-ti 

do-re-mi 
The  motive  Tni-re-do-la     consists  of  the  figures 

mi-re-do     and 

do-la     (spliced.) 
The  next  motive  is     do-la     and 

so-mi    (joined.) 

The  fourth  phrase  may  require  the  assistance  of  the  teacher. 

The  fifth  is  a  repetition  of  the  third. 

The  sixth  is  made  almost  entirely  of  tonic  chord  intervals. 

Ant  Tiny;  Book  One,  page  77. 

A  review  of  the  succession  of  intervals  of  Fourths,  found  on  page  56, 

will  be  helpful  in  the  study  of  this  song. 
Note  that  the  motive,  do-ti-fa-fa,  is  followed  by  its  sequences,  ti-la-mi-mi 

and  la-so-re-re. 

December;  Book  One,  page  78. 

The  familiar  figures   do-re-mi 
mi-so 
fa-re 
mi-do 

Compare  the  succession  of  chord  figures  with  those  in  "Kittens."1 
1  Book  One,  page  39;  Teacher's  Manual,  page  211. 


92  TEACHER'S   MANUAL 

The  Mill  Wheel;  Book  One,  page  78.    Teacher's  Manual,  page  230. 
The  familiar  figures    so-mi-do 


do-re-mi 

do-so 

do-mi 

ti-la-so 

re-do-ti 

mi-re-do 

Compare  the  dominant-chord  figure  re-ti-so  with  its  appearance  in  the 
songs  on  pages  46,  47,  and  74  of  Book  One,  where  it  appears  on 
lines  instead  of  in  spaces,  as  here. 

Song  of  Praise;  Book  One,  page  79. 

The  familiar  figures   so^do-mi 
mi-re-do 
do-so 
do-mi-so 
la-re 
fa-re 
do-re-do 

The  third  phrase  is  a  sequential  repetition  of  the  first  phrase,  one  step 
higher.  Although  the  intervals  of  the  opening  figure  of  this  phrase 
have  occurred  before,  the  reading  of  the  phrase  will  be  simplified  by- 
considering  its  sequential  relation  with  the  first  phrase. 

A  Song  Without  Words;  Book  One,  page  80.    Teacher's  Manual,  page  231. 

Compare  the  figure  mi-so-do-mi  with  "Bubbles,"  Book  One,  page  9.1 
The  dominant  chord  figure,  re-ti-so,  should  now  be  familiar.  Other 
familiar  figures  are: 

do-so-do-mi 

mi-re-do-ti-la 

ti-so 

mi-do-re-mi 

re-do  (or  mi-re-do) 

1  Teacher's  Manual,  page  189. 


THIRD   GRADE  — MONTHLY  OUTLINES  93 

FIFTH  MONTH 

I.  Rote  Songs.    As  in  previous  months: 

(a)   Happy  New  Year;  Book  One,  page  129.    Teacher's  Manual,  page  270. 
(6)    The  Birds'   Breakfast;  Book  One,  page   115.     Teacher's  Manual, 
page  250. 

(c)  Winter  Roses;  Book  One,  page  133.    Teacher's  Manual,  page  274. 

(d)  A  Frown  and  a  Smile;  Book  One,  page  135.     Teacher's  Manual, 

page  276. 

II.  Sight  Reading. 

(a)  A  general  review  of  Book  One,  Parts  One  and  Two.    The  distractions 

of  the  Thanksgiving  and  Christmas  holidays,  and  the  time  con- 
sumed in  the  preparation  of  exercises  and  special  songs  for  these 
occasions,  will  probably  interfere  with  the  satisfactory  completion 
of  the  work  outlined  for  the  third  and  fourth  months.  By  devoting 
the  fifth  month  largely  to  review,  not  only  will  the  children  be 
better  prepared  to  undertake  the  new  type  of  technical  study  of 
the  second  half  of  the  year,  but  they  can  also  make  up  any  work 
omitted  during  the  holiday  season. 

(b)  For  supplementary  material,  Primary  Song  Book,  Chapter  V.    (New 

Work.) 

SIXTH  MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)  Saint  Valentine's  Day;  Book  One,  page  114.     Teacher's  Manual, 

page  249. 

(b)  The  New  Soldiers;  Book  One,  page  117.  Teacher's  Manual,  page  254. 

(c)  Hidden  Treasures;  Book  One,  page  137.  Teacher's  Manual,  page  280. 

(d)  America;  Book  One,  page  142.    Teacher's  Manual,  page  285. 

n.  Sight  Reading.  From  this  time  forward  the  class  and  individuals 
should  read  all  the  songs  outlined  without  assistance  from  the 
teacher,  except  in  scanning  the  poem  to  get  the  rhythmic 
movement. 

(a)   Book  One,  pages  81-86. 

(6)    Primary  Song  Book,  Part  Two,  for  supplementary  material. 

Note.  The  teacher  and  children  should,  by  this  time,  have  become  so  thoroughly 
imbued  with  the  idea  of  reading  by  figures,  motives,  and  phrases,  that  it  seems  un- 
necessary to  analyze  the  songs  of  Part  Three  in  detail. 


94  TEACHER'S  MANUAL 

SEVENTH  MONTH 
I.  Rote  Songs.     As  in  previous  months: 

(a)    The  Pussy  Willows;    Book  One,   page   126.     Teacher's  Manual, 

page  266. 
(6)    See,  Saw,  Sacradown;    Book  One,  page  121.     Teacher's  Manual, 

page  261. 

(c)  Dance,  Dance  Baby;   Book    One,   page  130.     Teacher's   Manual, 

page  271. 

(d)  A  Riddle;  Book  One,  page  135.    Teacher's  Manual,  page  277. 

II.   Sight  Reading 

(a)  Book  One,  pages  87-93. 

(b)  Primary  Song  Book,  Part  Two,  for  supplementary  material. 

EIGHTH  MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)  The  Robin;  Book  One,  page  138.    Teacher's  Manual,  page  281. 

(b)  I'll  Tell  You  a  Story;   Book  One,  page  114.     Teacher's  Manual, 

page  249. 

(c)  Creep,  Mouse,  Creep;    Book  One,  page  124.     Teacher's  Manual, 

page  264. 

(d)  Lullaby;  Book  One,  page  122.    Teacher's  Manual,  page  262. 

II.   Sight  Reading 

(a)  Book  One,  pages  94-100. 

(b)  Primary  Song  Book,  Part  Two,  for  supplementary  material. 

NINTH  MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)    Old  Chang,  the  Crab;    Book  One,  page  127.     Teacher's  Manual, 

page  268. 
(6)    A  Baby  Sermon;  Book  One,  page  118.    Teacher's  Manual,  page  254. 

(c)  The  Caterpillar  and  the  Bee;  Book  One,  page  134.    Teacher's  Man- 

ual, page  275. 

(d)  Farmyard  Song;  Book  One,  page  140.    Teacher's  Manual,  page  283. 

II.   Sight  Reading 

(a)    Book  One,  pages  101-107. 

(6)    Primary  Song  Book,  Part  Two,  for  supplementary  material. 


THIRD  GRADE  —  MONTHLY  OUTLINES  95 

TENTH  MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)    Summer  Song;  Book  One,  page  119.    Teacher's  Manual,  page  258. 
(6)    Making  the  Hay;  Book  One,  page  132.    Teacher's  Manual,  page  273. 

(c)  What  I  Like;  Book  One,  page  139.    Teacher's  Manual,  page  282. 

(d)  Wah-wah-tay-see;  Book  One,  page  127.    Teacher's  Manual,  page  267. 

II.  Sight  Reading 

(a)  Book  One,  pages  108-112. 

(b)  Primary  Song  Book,  Part  Two,  for  supplementary  material. 


Special  Introductory  Outline  for  Second  Grade 

The  following  outline  is  offered  for  schools  which  are  introducing  the  Pro- 
gressive Music  Series  into  the  second  grade.  It  covers  in  condensed  form 
the  most  essential  features  of  the  first-grade  work  as  well  as  those  of  the 
first  half  of  the  second  grade.  By  following  this  Special  Introductory  Outline 
for  the  first  five  months  of  the  second  grade,  the  children  should  then  be  able 
to  continue  their  work  from  the  regular  outline.  It  is,  of  course,  expected  that 
the  teacher  will  read  carefully  the  Introduction  and  the  regular  outlines  for 
first  and  second  grades. 

FIRST    MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    Three  Little  Heads;  Teacher's  Manual,  page  150. 
(6)    The  Grasshopper's  Ball;  Teacher's  Manual,  page  152. 
(c)    Swing  Song;  Teacher's  Manual,  page  153. 

n.  Observation  Songs.    The  songs  of  Book  One,  Chapter  I,  are  to  be  studied 
in  the  several  ways  outlined  below. 

(a)    Learning  the  songs  by  rote.    See  outline  for  First  Grade,  First  Month, 

page  28. 
(6)    Singing  with  neutral  syllables.     See  outline  for  First  Grade,  Sixth 

Month,  page  30. 

(c)  Recognition  of  phrase  repetition.    See  outline  for  First  Grade,  Sixth 

Month. 

(d)  Application  of  syllables.    See  outline  for  First  Grade,  Sixth  Month. 

Also  see  outline  for  First  Grade,  Eighth  Month,  page  31. 

(e)  Study  of  motives  and  figures.    See  regular  outline  for  Second  Grade, 

First  Month,  page  43. 

SECOND    MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    One  Misty,  Moisty  Morning;  Teacher's  Manual,  page  154. 
(6)    Chrys  Anthemum;  Teacher's  Manual,  page  155. 
(c)    Windy  Nights;  Teacher's  Manual,  page  156. 

n.  Observation  Songs.    The  songs  of  Book  One,  Chapter  II,  are  to  be  studied 

in  the  several  ways  outlined  under  First  Month,  Step  II.    See 

regular  outline  for  Second  Grade,  Second  Month,  page  45. 

96 


SECOND    GRADE  —  SPECIAL    INTRODUCTORY    OUTLINE         97 

THIRD    MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)  Rock-a-bye,  Hush-a-bye,  Little  Papoose ;  Teacher's  Manual,  page  157. 

(b)  Eatings;  Teacher's  Manual,  page  161. 

(c)  Bedtime;  Teacher's  Manual,  page  158. 

II.  Observation  Songs.  The  songs  of  Book  One,  Chapter  III,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II.  See 
regular  outline  for  Second  Grade,  Third  Month,  page  48. 

FOURTH    MONTH 
I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)  Kris  Kringle's  Song;  Teacher's  Manual,  page  160. 

(b)  Sing  a  Song  of  Sixpence;  Teacher's  Manual,  page  164. 

(c)  The  Jolly  Holly  Farm;  Teacher's  Manual,  page  166. 

II.  Observation  Songs.  The  songs  of  Book  One,  Chapter  IV,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II.  See 
regular  outline  for  Second  Grade,  Fourth  Month,  page  50. 

FIFTH   MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    Icicles  and  Bicycles;  Teacher's  Manual,  page  165. 
(6)    The  Song  of  the  Wind;  Teacher's  Manual,  page  163. 
(c)    If;  Teacher's  Manual,  page  168. 

II.  Observation  Songs.  The  songs  of  Book  One,  Chapter  V,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II.  See 
regular  outline  for  Second  Grade,  Fifth  Month,  page  53. 

SIXTH    TO    TENTH    MONTHS    (INCLUSIVE) 
Follow  the  regular  Second  Grade  outlines  for  these  months. 


Special  Introductory  Outline  for  Third  Grade 

The  following  outline  is  offered  for  schools  which  are  introducing  the  Pro- 
gressive Music  Series  into  the  third  grade.  It  covers  in  condensed  form 
the  most  essential  features  of  the  first-  and  second-grade  work.  By  follow- 
ing this  Special  Introductory  Outline  for  the  first  five  months  of  the  third 
grade,  the  children  should  then  be  able  to  continue  their  work  from  the  regu- 
lar outline.  It  is,  of  course,  expected  that  the  teacher  will  read  carefully  the 
Introduction  and  the  regular  outlines  for  the  first,  second,  and  third  grades, 

FIRST    MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote: 

(a)    The  Firefly;  Book  One,  page  136.     Teacher's  Manual,  page  279. 
(6)    Babyland;  Book  One,  page  116.     Teacher's  Manual,  page  252. 

(c)  Our  Friends  the  Shadows;  Book  One,  page  130.    Teacher's  Manual, 

page  270. 

(d)  Wee  Willie  Winkie;  Book  One,  page  131.  Teacher's  Manual,  page  272. 

The  children  should  have  books  in  hand  while  studying  the  rote  songs  of 
Book  One,  and  should  be  encouraged  to  get  as  much  from  the  notation  as 
possible.1 

II.  Observation  Songs.    The  songs  of  Book  One,  Chapter  I,  are  to  be  studied 

in  the  several  ways  outlined  below. 

(a)  Learning  the  songs  by  rote.  Books  should  be  in  the  hands  of  the 
children.  See  regular  outline  for  Third  Grade,  First  Month,  page  84. 

(o)  Singing  with  neutral  syllables.  See  outline  for  First  Grade,  Sixth 
Month,  page  30. 

(c)  Recognition  of  phrase  repetition.    See  regular  outline  for  First  Grade, 

Sixth  Month,  and  for  Second  Grade,  Sixth  Month,  page  56. 
Having  learned  the  songs  with  books  in  hand,  the  presentation 
of  notation  from  the  board  may  be  omitted.  This  does  not  refer 
to  the  eye-training  drills  in  figure  recognition,  which  should  be  as 
thorough  as  possible. 

(d)  Application  of  syllables.    See  outline  for  First  Grade,  Sixth  Month. 

(e)  Study  of  motives  and  figures.    See  regular  outline  for  Second  Grade, 

First  Month,  page  43. 

Note.  In  introducing  the  Progressive  Music  Series  into  the  third  grade  for  the 
first  time,  it  seems  advisable  to  conduct  the  ear-  and  eye-training  studies  simultane- 
ously, thereby  immediately  relating  the  two.  Each  of  the  steps  outlined  above, 
therefore,  should  be  conducted  with  the  books  in  the  hands  of  the  children. 

1  See  Teacher's  Manual,  page  76. 


THIRD    GRADE  —  SPECIAL    INTRODUCTORY    OUTLINE  99 

In  step  (e),  the  figures  are  first  discovered  in  the  songs  that  the  children 
are  studying  by  rote.  They  are  separated  from  their  context  for  drill  in  ear 
training.    They  are  then  shown  in  notation  for  drill  in  eye  training. 

An  analysis  of  the  songs  by  motives  and  figures  will  be  found  in  the  regular 
Monthly  Outlines  for  the  Second  Grade.  The  summary  of  figures  for 
ear-training  drill  is  given  at  the  close  of  the  second-grade  outline,  page  70. 
Tables  of  figures  in  music  notation  for  eye  training  drill  will  be  found  on 
pages  57,  58,  and  60.  By  simultaneously  drilling  the  children  in  these  several 
ways,  an  immediate  coordination  between  the  ear  and  eye  will  be  established. 
It  is  important  that  each  figure  should  be  shown  in  the  notation  of  various 
keys,  as  given  in  the  tables  of  figures  in  music  notation. 

in.  Song  Studies.  The  songs  of  Book  One,  Chapter  VI,  are  to  be  studied 
as  outlined  below.  In  case  the  class  is  not  able  to  complete  this 
chapter  in  the  time  specified,  the  teacher  should  nevertheless  pro- 
ceed to  the  next  month's  outline.  The  omitted  material  may  be 
made  up  some  time  during  the  second  half  of  the  year. 

First  Reading  of  New  Songs.  See  regular  outline  for  Second  Grade, 
Ninth  Month,  page  66. 

SECOND    MONTH 

I.  Rote  Songs.    Teach  the  following  songs  by  rote  as  suggested  in  the  out- 
line for  Third  Grade,  First  Month,  page  84. 

(a)    The  Lonely  Wind;  Book  One,  page  136.   Teacher's  Manual,  page  278. 
(6)    The  Elves  and  the  Shoemaker;  Book  One,  page  116.     Teacher's 
Manual,  page  252. 

(c)  Last  Night;  Book  One,  page  115.     Teacher's  Manual,  page  250. 

(d)  Benediction;  Book  One,  page  132.     Teacher's  Manual,  page  272. 

II.  Observation  Songs.    The  songs  of  Book  One,  Chapter  II,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II.- 

See  regular  outline  for  Second  Grade,  Second  Month,  page  45;  Sum- 
mary of  Figures,  page  70;  and  Table  of  Figures  on  page  58.  Also 
see  note  under  First  Month  of  Special  Introductory  Outline  for 
Third  Grade. 

HI.  Song  Studies.  The  songs  of  Book  One,  Chapter  VII,  are  to  be  studied  as 
outlined  below.     See  outline  for  First  Month,  Step  III. 

First  Reading  of  New  Songs.  See  regular  outline  for  Second  Grade, 
Tenth  Month,  page  68. 


100  TEACHER'S   MANUAL 

THIRD    MONTH 

I.  Rote  Songs.    As  in  previous  months: 

(a)   Thanksgiving  Day;  Book  One,  page  141.  Teacher's  Manual,  page  284. 
(o)    The  Gingerbread  Man;  Book  One,  page  113.     Teacher's  Manual, 

page  248. 
(c)    The  Recipe;  Book  One,  page  124.     Teacher's  Manual,  page  264. 
{d)   The  Squirrel  in  the  Snow;  Book  One,  page  129.     Teacher's  Manual, 

page  269. 

II.  Observation  Songs.    The  songs  of  Book  One,  Chapter  III,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II. 

See  regular  outline  for  Second  Grade,  Third  Month,  page  48;  Sum- 
mary of  Figures,  page  70;  and  Table  of  Figures  on  page  59.  Also 
see  note  under  First  Month  of  Special  Introductory  Outline  for 
Third  Grade. 

m.  Song  Studies.    The  songs  of  Book  One,  Chapter  VIII,  are  to  be  studied  as 
outlined  below.    See  outline  for  First  Month,  Step  III. 

First  Reading  of  New  Songs.  See  regular  outline  for  Third  Grade, 
Second  Month,  page  84. 

FOURTH    MONTH 

I.  Rote  Songs.    As  in  previous  months: 

(a)   The  Clock;  Book  One,  page  118.    Teacher's  Manual,  page  255. 
(6)    A  Carriage  to  Ride  in;  Book  One,  page  123.     Teacher's  Manual, 
page  263. 

(c)  0  Christmas  Tree;  Book  One,  page  125.    Teacher's  Manual,  page  265. 

(d)  Strange  Lands;  Book  One,  page  120.    Teacher's  Manual,  page  259. 

II,   Observation  Songs.    The  songs  of  Book  One,  Chapter  IV,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II. 

See  regular  outline  for  Second  Grade,  Fourth  Month,  page  50;  Sum- 
mary of  Figures,  page  70;  and  Table  of  Figures  on  page  60.  Also 
see  note  under  First  Month  of  Special  Introductory  Outline  for 
Third  Grade. 

HI.  Song  Studies.    The  songs  of  Book  One,  Chapter  IX,  are  to  be  studied  as 
outlined  below.     See  outline  for  First  Month,  Step  III. 

First  Reading  of  New  Songs.  See  regular  outline  for  Third  Grade, 
Third  Month,  page  86. 


THIRD    GRADE  —  SPECIAL    INTRODUCTORY    OUTLINE        101 

FIFTH    MONTH 
I.  Rote  Songs.    As  in  previous  months: 

(a)    Happy  New  Year;  Book  One,  page  129.   Teacher's  Manual,  page  270. 
(6)    The  Birds'   Breakfast;  Book  One,   page   115.     Teacher's  Manual, 
page  250. 

(c)  Winter  Roses;  Book  One,  page  133.    Teacher's  Manual,  page  274. 

(d)  A  Frown  and  a  Smile;   Book  One,  page  135.     Teacher's  Manual, 

page  276. 

IT.  Observation  Songs.     The  songs  of  Book  One,  Chapter  V,  are  to  be  studied 
in  the  several  ways  outlined  under  First  Month,  Step  II. 

See  regular  outline  for  Second  Grade,  Fifth  Month,  page  53;  Sum- 
mary of  Figures,  page  70;  and  Table  of  Figures  on  page  63.  Also 
see  note  under  First  Month  of  Special  Introductory  Outline  for 
Third  Grade. 

III.  Song  Studies.     The  songs  of  Book  One,  Chapter  X,  are  to  be  studied  as 
outlined  below.    See  outline  for  First  Month,  Step  III. 

First  Reading  of  New  Songs.  See  regular  outline  for  Third  Grade, 
Fourth  Month,  page  89. 

SIXTH    TO    TENTH    MONTHS    (INCLUSIVE) 
Follow  the  regular  Third  Grade  outlines  for  these  months. 


PAET  THREE 
FOLK  DANCES  AND   SINGING  GAMES 

General  Suggestions 

The  use  of  folk  dances  and  singing  games  is  increasing  in  favor  in  the 
schools  of  this  country.  It  has  been  found  that  in  addition  to  their  recrea- 
tional value,  they  contribute  directly  to  the  child's  rhythmic  development. 

The  inclusion  of  folk  dances  and  singing  games  in  this  Manual  is  intended 
to  aid  the  teacher  in  relating  the  physical  experience  of  the  dance  with  the 
mental  experience  of  the  singing  lesson.  It  will  be  noted  that  in  the  directions 
for  the  dances  the  same  emphasis  is  placed  upon  the  phrase  as  a  rhythmic  unit 
as  is  done  in  the  study  of  the  songs  of  the  course. 

The  usual  procedure  in  the  development  of  rhythm  in  school  music  has 
been  to  treat  the  subject  as  an  intellectual  problem,  or  from  the  mathematical 
standpoint.  This  procedure  has  involved  the  counting  of  beats  in  an  effort 
synthetically  to  build  measures,  and  from  measures  to  build  phrases.  While 
this  plan  is  proper,  and,  indeed,  essential  in  the  Associative  Period  of  the  child's 
development,  the  Sensory  Period  is  a  time  when  he  should  be  brought  into 
contact  with  the  physical  sensation  of  rhythm. 

The  Progressive  Music  Series  aims,  in  every  possible  way,  to  lead  the  child 
to  recognize  the  phrase  as  the  first  rhythmic  unit.  In  the  folk  dance  the  child 
has  an  action  to  perform,  and  the  phrases  of  the  dance  melody  indicate  the 
points  at  which  the  dance  figures  are  to  begin  and  end.  The  rhythm  of  the 
phrase  is  associated  with  the  dance  figure,  while  the  rhythm  of  the  measure 
suggests  the  steps  to  be  used. 

The  relation  of  the  steps  and  gestures  of  the  dance  to  the  measure  and  its 
parts  (the  beats  and  their  subdivisions)  offers  a  concrete  basis  for  the  intel- 
lectual appreciation  of  the  smaller  rhythmic  units.  The  children  should  be 
led  to  discover  points  of  similarity  between  the  rhythms  of  the  folk  dances  and 
the  rhythms  of  their  song  studies.  Thereby  rhythmic  notation  may  be  made 
more  concrete. 

The  teacher  should  read  the  section  on  Rhythmic  Development,  Part  One 
of  this  Manual,  page  19.  See  also  Rhythmic  Development  in  the  Introduc- 
tion to  the  Outline  for  Second  Grade,  page  36,  and  Rhythmic  Development, 
Introduction  to  Outline  for  Third  Grade,  page  76. 

T.  M.  Vol.  1—8  103 


104 


TEACHER'S  MANUAL 


Fourteen  folk  dances,  with  directions,  are  given  in  this  Manual.     It  is  sug- 
gested that  they  be  apportioned  to  the  first  three  grades  as  shown  below  : 


First  Grade 


The  Chimes  of  Dunkirk 
Dance  of  Greeting 
Children's  Polka 


Lassies'  Dance 
Lottie  is  Dead 
Shoemakers'  Dance 


Bleking 
I  See  You 


Second  Grade 


The  Water  Sprite 
Gustave's  Toast 


Third  Grade 


The  Ace  of  Diamonds 
Mountain  March 


Clap  Dance 
Tantoli 


The  directions  for  the  folk  dances  are  given  according  to  the  phrases  of 
the  dance  melody.  The  several  phrases  of  the  melody  are  indicated  by  letters. 
The  first  phrase  is  lettered  a.  If  the  same  phrase  occurs  more  than  once,  the 
several  appearances  are  named  a1,  a2,  etc.  The  second  phrase  is  called  b,  the 
third  c,  etc.,  and  the  repetitions  of  these  phrases  are  indicated  by  numbers. 
A  modified  repetition  of  a  phrase  is  indicated  by  a  small  letter  m,  thus, 
a  and  am. 

Book  One  offers  a  number  of  singing  games.  It  is  suggested  that  they 
be  taken  at  suitable  times  in  the  grades  specified  below.  It  will  be  observed 
that  this  outline  does  not  conform  to  the  outlines  for  song- study  purposes. 
The  study  of  the  notation  of  these  songs  must  be  outlined  according  to  the 
musical  problems  involved.  The  difference  in  the  two  outlines  need  cause  no 
difficulty.  The  fact  that  a  singing  game  has  been  learned  by  rote  before  the 
time  for  the  study  of  its  notation  merely  changes  the  classification  of  the  type 
of  study  to  be  given  to  its  notation  from  Song  Study  or  Sight  Reading  to 
Note  Observation. 

For  the  information  of  the  teacher  the  place  of  the  song  in  the  regular 
outline  is  noted  in  each  case. 


First  Grade 

Ring  a  Ring  oi  Roses;  Book  One,  page  12.    Teacher's  Manual,  page  193. 
(First  Grade,  Third  Month.) 

The  Holiday;  Book  One,  page  15.     Teacher's  Manual,  page  195. 
(First  Grade,  Fourth  Month.) 


FOLK   DANCES   AND   SINGING   GAMES  .  105 

The  Mulberry  Bush;  Book  One,  page  21.     Teacher's  Manual,  page  199. 
(First  Grade,  Fifth  Month.) 

The  Farmer;  Book  One,  page  55.     Teacher's  Manual,  page  220. 
(Second  Grade,  Tenth  Month.) 

Oats  and  Beans;  Book  One,  page  91.     Teacher's  Manual,  page  236. 
(Third  Grade,  Seventh  Month.) 

Second  Grade 

In  Wooden  Shoes;  Book  One,  page  44.    Teacher's  Manual,  page  214. 
(First  Grade,  Tenth  Month.) 

Will  You  Come  With  Me;  Book  One,  page  48.  Teacher's  Manual,  page  217. 
(First  Grade,  Tenth  Month.) 

Dancing  Song;  Book  One,  page  93.     Teacher's  Manual,  page  127. 
(Third  Grade,  Seventh  Month.) 

London  Bridge;  Book  One,  page  95.     Teacher's  Manual,  page  238. 
(Third  Grade,  Eighth  Month.) 

Third  Grade 

At  the  Dance;  Book  One,  page  71.     Teacher's  Manual,  page  126. 
(Third  Grade,  Fourth  Month.) 

The  Maypole  Dance;  Book  One,  page  72.    Teacher's  Manual,  page  227. 
(Third  Grade,  Fourth  Month.) 

In  the  following  directions,  "  Formation  "  means  the  position  to  be  taken 
before  beginning  a  dance. 

In  forming  a  single  circle,  the  dancers  should  face  toward  the  center  unless 
other  directions  are  given. 

In  forming  a  double  circle,  the  direction  for  facing  will  always  be  given. 
A  double  circle,  or  two  circles,  means  that  one  circle  is  inside  the  other,  the 
same  number  of  dancers  in  each  circle. 

A  boy's  place  is  at  the  left  of  the  girl. 

In  most  folk  dances  the  boy's  bow  is  made  with  feet  together  and  knees 
straight,  the  bend  coming  at  the  waist. 

The  girl's  bow  may  be  either  the  bob  curtsey  or  the  curtsey.  In  making 
the  bob  curtsey,  the  girl  places  one  foot  close  behind  the  other,  bending 
both  knees,  at  the  same  time  rising  on  the  toes.  In  making  the  curtsey, 
the  girl  steps  back  with  one  foot  and  then  draws  the  other  back  to  it,  making 
a  deep  bow. 

When  not  otherwise  in  use,  the  hands  should  be  on  the  hips. 


106  TEACHER'S   MANUAL 

Directions  for  Folk  Dances 1 

THE   CHIMES    OF  DUNKIRK 
(Scotch  Folk  Dance) 

Formation.    In  double  circle,  facing  partner,  hands  on  hips. 

(a)    Stamp  three  times. 

(am)  Clap  three  times. 

(6)  Join  hands  with  partner  and  take  four  running  steps  in  place,  begin- 
ning with  the  left  foot. 

(c)  Loosen  partner's  hands  and  each  take  four  running  steps  to  the  left 
to  meet  new  partner. 

It  will  be  observed  that  this  dance  tune  is  the  same  melody  as  "  The  Fright- 
ened Pumpkin,"  Book  One,  page  83.  Although  written  in  a  different  meter, 
the  dance  tune  may  be  used  as  an  accompaniment  to  the  song,  or  the  children 
may  sing  the  song  as  an  accompaniment  to  the  dance. 

DANCE   OF  GREETING 
(Danish  Folk  Dance) 

Formation.    Form  circle,  partners  standing  side  by  side,  facing  toward  the 
center  of  the  circle, 
(a)    Measure  1.    Bow  to  your  partner. 

Measure  2.    Bow  to  your  neighbor. 
(6)    Clap,  stamp,  and  turn  around. 

During  the  repeat  of  a  and  b  the  dancers  repeat  the  figures  given, 
then  all  join  hands  around  the  circle, 
(c  and  cm)   Facing  to  the  left  and  beginning  with  the  left  foot,  all  slide  to 
the  left. 
During  the  repeat  of  Phrases  c  and  cm,  without  pausing,  all  face  the 
other  way  and  slide  to  the  right. 

CHILDREN'S  POLKA 


Folk  Dance 

Formation.    Form  circle.    Face  partner,  side  to  center,  hands  joined,  shoulders 
high. 
(a)   Measures  1  and  2.    Two  slides  toward  center  and  stamp  three  times. 
Measures  3  and  4.    Two  slides  back  to  place  and  stamp  three  times. 
1  The  music  for  these  folk  dances  will  be  found  on  pages  119-125  of  this  Manual. 


FOLK   DANCES   AND   SINGING   GAMES  107 

(am)  Repeat  the  figures  given  for  phrase  a. 

(b)  Measures  9  and  10.    Slap  thighs,  clap  own  hands  once,  clap  partner's 

hands  three  times. 
Measures  11  and  12.    Repeat  slap  and  claps. 

(c)  Measure  13.     Right  elbow  in  left  hand,  shake  finger  of  right  hand, 

right  toe  pointing  outward. 
Measure  14.    Same  figure  as  for  previous  measure,  but  with  left  hand 

and  foot. 
Measures  15  and  16.     Snap  fingers  over  head  while  turning  in  place  , 

with  three  running  steps  to  the  left,  then  stamp  three  times  with 

hands  on  hips. 

LASSIES'  DANCE 

Kull-Dansen 

(Swedish  Folk  Dance) 

Formation.    Single  circle,  partners  facing  each  other,  sides  toward  center  of 
circle,  hands  on  hips. 
(a1)  Measure  1.    Place  inside  toe  forward,  turn  and  bow  to  neighbor. 
Measure  2.    Without  taking  feet  from  the  floor,  turn  and  bow  to 
partner. 
(b1)  Repeat  figure  for  Phrase  a1. 
(a2)  Repeat  figure  for  Phrase  a>. 

(62)  Repeat  figure  for  Phrase  a1.    Finish  facing  partner, 
(c  and  cm)    Dance  twelve  kicking  steps  in  place,  beginning  with  the  left 
foot,  three  steps  to  each  measure. 

(d)  Clap  own  hands,  join  hands  with  partner  and  turn  in  place  with  three 

running  steps. 

LOTTIE  IS  DEAD 

Ladita 

(Swedish  Folk  Dance) 

Formation.    Form  a  circle  with  partners  facing,  sides  toward  center  of  circle, 
hands  joined,  shoulders  high, 
(a)    Four  slow  slides  to  center. 
(6)    Seven  quick  jumps  back  to  place. 

These  two  figures  are  repeated, 
(c  and  cm)   Partners  place  hands  on  hips  and  shoulders.    Hop-waltz  around 
circle.     (Step  and  hop  on  one  foot,  raising  the  other.) 


108  TEACHER'S   MANUAL 

SHOEMAKERS'   DANCE 

(Danish  Folk  Dance) 

Formation.    Partners  form  double  circle,  facing  each  other. 

(a)    Measure  1.    Winding  thread.    With  fists  tightly  clenched  in  front  of 
chest,  revolve  them  around  each  other  as  rapidly  as  possible. 
Measure  2.    Without  pausing,  reverse  movement. 
(6)    Measure  3.     Waxing  thread.     Jerk  elbows  back  quickly  and  vigor- 
ously twice,  at  the  same  time  lifting  left  knee  and  saying,  "sss,  sss." 
Measure  4.     Pegging.     With  fists  clenched,  strike  the  left  with  the 

right  three  times,  saying,  "Rap,  rap,  rap." 
These  figures  are  repeated, 
(c  and  d)  Partners  join  hands  and  skip  around  circle;  or,  with  inside  hands 
joined  and  outside  hands  on  hips,  polka  around  circle. 
This  figure  is  repeated. 

BLEKING 

(Swedish  Folk  Dance) 
(Bleking  is  the  name  of  one  of  the  most  beautiful  provinces  of  Sweden.) 

Formation.    Double  circle,  partners  facing  each  other. 

(a1)  Measure  1.    Take  partner's  hands;  hop  on  right  foot  and  left  heel. 

extending  left  foot  and  arm.    Change  feet  and  arms. 
Measure  2.    Three  hops,  twice  as  quickly  as  in  measure  1,  finishing 

with  a  hop  on  right  foot  and  left  heel. 
(6)    Repeat  the  figures  for  Phrase  a1,  reversing  the  feet,  and  ending  with  a 

hop  on  the  left  foot  and  the  right  heel. 
(a2)  Repeat  figures  for  Phrase  a1. 
(bm)  Repeat  figures  for  Phrase  b. 
(c\  d,  c2,  dm)  Place  hands  on  hips  and  shoulders  and  hop- waltz  around 

circle. 

I   SEE  YOU 

(Swedish  Singing  Game) 

Formation.  Children  form  in  two  double  lines,  about  six  feet  apart,  the 
double  lines  facing  each  other.  Children  in  the  front  row  of  each 
double  line  place  hands  on  hips;  those  in  the  rear  row  of  each  double 
line  place  hands  on  the  shoulders  of  the  children  in  front  of  them. 
(a1)  Measure  1.  Children  of  rear  rows  lean  heads  to  the  left,  peeping 
across  at  the  children  opposite. 
Measure  2.    The  same  figure  reversed,  peeping  from  the  right. 


FOLK  DANCES   AND   SINGING   GAMES  109 

(6)  Repeat  the  figures  of  Phrase  a1  twice  as  quickly,  peeping  four  times 
instead  of  two. 

(a2  and  bm)   Repeat  the  figures  for  a1  and  b. 

(c1  and  d)  At  the  first  note  of  c1,  all  clap  hands  sharply  once.  At  the  same 
time  the  children  of  the  rear  rows  spring  forward  to  the  left  of 
their  partners  and,  each  grasping  the  hands  of  the  child  advancing 
from  the  opposite  side,  swing  vigorously  around  to  the  left. 

(c2  and  dm)   All  clap  hands  again,  then,  grasping  partners'  hands,  swing 
around  to  the  left.    At  the  end,  the  original  formation  is  resumed, 
but  the  children  who  were  in  the  front  row  are  now  in  the  rear,  and 
vice  versa. 
When  given  as  a  singing  game,  the  following  words  are  sung: 

I  see  you,  I  see  you, 

Tra,  la,  la,  la,  la,  la,  la,  la; 
I  see  you,  I  see  you, 

Tra,  la,  la,  la,  la,  la! 

You  see  me  and  I  see  you, 

Then  you  take  me  and  I'll  take  you; 

You  see  me  and  I  see  you, 

Then  you  take  me  and  I  '11  take  you. 

THE  WATER  SPRITE 

Nigarepolskan 
(Swedish  Folk  Dance) 

Formation.    A  single  circle,  arms  akimbo. 

(a  and  am)  One  or  more,  according  to  the  size  of  the  circle,  advance  to  lure 
partners,  using  a  slide  and  hop.  (Hop  and  slide  one  foot  forward, 
then  hop  and  slide  the  other  foot.)  As  soon  as  the  leader  stops  in 
front  of  a  person,  this  person  should  begin  the  sliding  step.  (The 
leader  begins  the  slide  with  the  left  foot,  those  in  the  oircle  with 
the  right  foot,  so  that  the  sliding  is  all  in  the  same  direction.) 

(b  and  c)  At  first  note  of  Phrase  c  the  leader  claps  his  hands  and  turns. 
The  invited  dancer  places  both  hands  on  the  leader's  shoulders, 
and  together  they  proceed  to  find  another  partner,  using  a  running 

step. 
The  same  action  is  repeated  for  the  repetition  of  Phrases  b  and  c. 
As  the  line  grows  longer  care  should  be  taken  that  all  jump  and  clap 

together.    To  finish,  all  lines  join  in  one  big  circle  and  dance  around 

the  room. 


110  TEACHER'S  MANUAL 

GUSTAVE'S   TOAST 

Gustafs  Skal 

(Swedish  Singing  Game) 

Formation.    Four  couples  stand  in  a  square,  as  in  a  quadrille.    There  may  be 

any  number  of  sets.     Partners  join  inside  hands,  outside  hands 

on  hips, 
(a)    Beginning  with  the  right  foot,  the  head  couples  advance  three  steps 

toward  each  other  and  bow. 
(6)    Beginning  with  the  left  foot,  the  dancers  retire  to  their  places  with 

three  walking  steps,  then  bring  heels  together. 
(am  and  c)    Side-couples  repeat  the  same  figures  as  for  Phrases  a  and  b. 
This  portion  of  the  dance  is  then  repeated.    Up  to  this  point  the  dance 

is  conducted  with  great  dignity. 
(d1  and  dm)   The  head  couples,  skipping  gayly,  advance  toward  each  other. 

Partners  release  hands  and,  taking  the  hands  of  the  opposite  dancer, 

separate,  the  boy  going  toward  the  left  and  the  girl  toward  the  right. 

The  couples  pass  under  the  arches  made  by  the  side  couples,  who 

raise  high  their  joined  hands.     Immediately  after  passing  under 

the  arch  the  dancers  separate  to  right  and  left,  returning  to  their 

partners  in  their  original  positions. 
(d2  and  e)    Still  skipping,  the  dancers  clap  their  own  hands  once,  then, 

joining  hands  with  partners,  lean  away  from  each  other  and  swing 

around  vigorously. 
To  the  repetition  of  the  music  of  Phrases  d1,  dm,  d2,  and  e,  the  side 

couples  repeat  the  figures  danced  by  the  first  couples. 
Emphasis  should  be  laid  upon  the  stateliness  of  the  first  part  of  the 

dance,  as  contrasted  with  the  lightness  and  jollity  of  the  second 

part. 

THE  ACE   OF   DIAMONDS 
(Danish  Folk  Dance) 

Formation.    Double  circle,  partners  facing,  those  inside  with  backs  to  center 

of  circle, 
(a)    All  dancers  clap  hands  sharply  once.    Immediately  hook  right  elbow 

with  partner's,  and,  starting  with  left  foot,  run  to  left,  swinging 

into  an  exchange  of  positions  with  partner. 
(am)  Repeat  the  figure  for  Phrase  a,  running  in  opposite  direction  and 

swinging  back  into  original  position. 


FOLK   DANCES   AND   SINGING   GAMES  111 

(6)    Arms  folded,  outside  dancer  follows  partner  to  center  with  four  hop- 
ping steps,  the  inside  dancer  moving  backward. 

(bm)  Repeat  the  figure  for  Phrase  b,  moving  from  center  of  circle  back  into 
original  position. 

(c  and  cm)    Partners  turn  so  as  to  stand  side  by  side.     Polka  around  the 
circle. 

MOUNTAIN   MARCH 

(Norwegian  Folk  Dance) 

Formation.    Form  in  groups  of  three,  one  leading  and  two  following.     The 
leader  holds  a  handkerchief  in  each  hand,  the  followers  each  grasp 
a  handkerchief  with  the  outside  hand,  joining  the  inside  hands. 
(a  and  b)   Beginning  with  the  right  foot,  all  run  forward,  taking  three  run- 
ning steps  to  each  measure,  accenting  the  first  count  of  each  meas- 
ure with  a  stamp, 
(c)    Measures  9  and  10.     The  leader,  bending  forward,  runs  backward 
three  steps,  passing  under  the  arms  of  the  other  two,  then  continues 
running  three  steps  in  place. 
Measures  11  and  12.    The  dancer  to  the  right  of  the  leader,  with  six 
short  running  steps,  crosses  in  front  of  the  leader  and  turns  inward 
once  around  in  place  under  the  leader's  right  arm. 
(bm)    Measures  13  and  14.    The  dancer  to  the  left  of  the  leader,  with  six 
short  running  steps,  crosses  in  front  of  the  leader  and  turns  around 
once  under  the  leader's  right  arm. 
Measures  15  and  16.    The  leader,  with  six  short  running  steps,  turns 
to  right  under  his  own  right  arm. 

CLAP   DANCE 

Klappdans 

(Swedish  Folk  Dance) 

Formation.    Double  circle,  boys  inside;  partners  join  hands. 

(a1,  b,  a2,  and  bm)  Beginning  with  the  outside  foot,  take  three  running  steps 
and  a  kick  to  each  measure  (polka  step).  The  second  measure 
starts  with  the  inside  foot.  When  starting  with  the  outside  foot, 
the  dancers  turn  slightly  toward  each  other  and  swing  the  joined 
hands  backward.  When  starting  with  the  inside  foot,  the  dancers 
turn  away  from  each  other  and  swing  the  joined  hands  forward. 
Continue  dancing  and  swinging,  alternating  the  feet  with  each 
measure. 
This  portion  of  the  dance  is  repeated. 


112  TEACHER'S   MANUAL 

(c1)  Measure  9.  Face  partners,  hands  on  hips.    Girls  bob  curtsey,  boys 
bow. 

Measure  10.  Clap  own  hands  three  times. 
(c2)  Repeat  bows  and  claps. 

(d)  Measure  13.  Clap  own  hands  once,  then  partners  clap  right  hands. 
Measure  14.  Clap  own  hands  once,  then  partners  clap  left  hands. 

(e)  Measure  15.  Clap  own  hands,  snap  fingers,  turn  entirely  around  to 

left  in  place. 

Measure  16.    Stamp  three  times. 

Repeat  c1  and  c2. 

At  the  repetition  of  d,  measure  13,  instead  of  clapping,  shake  fore- 
finger of  right  hand  at  partner. 

At  the  repetition  of  d,  measure  14,  shake  the  forefinger  of  left  hand 
at  partner.  In  shaking  the  finger  of  the  right  hand,  the  right  elbow 
should  be  supported  by  the  left  hand.  In  shaking  the  left  forefinger, 
the  left  elbow  should  rest  in  the  right  hand. 

The  repetition  of  Phrase  e  should  be  danced  to  the  same  figures  as  at 
the  first  appearance  of  the  phrase. 

TANTOLI 

(Swedish  Folk  Dance) 

Formation.    Double  circle,  boys  inside,  partners'  inside  hands  joined,  outside 
hands  on  hips. 

(a)  Measure  1.     Beginning  with  the  outside  foot,  both  place  the  heel 

forward,  at  the  same  time  bending  slightly  backward.    Then  place 
the  outside  foot  backward  so  that  the  toe  touches  the  floor,  at  the 
same  time  bending  slightly  forward. 
Measure  2.     Slide  the  outside  foot  forward,  bring  the  other  foot  up 
to  it,  then  again  slide  the  outside  foot  forward. 

(b)  Repeat  the  dance  figures  for  Phrase  a,  beginning  with  the  inside  foot. 
Repeat  Phrases  a  and  b  to  the  same  dance  figures. 

(c)  Girls'  hands  on  boys'  shoulders;  each  boy  takes  his  partner  by  the 

waist  with  both  hands.      Beginning  with  forward  foot  extended, 

toe  straight,  knee  stiff,  — 
Measure  5.    Take  four  step-hops  in  place. 
Measure  6.    Take  four  step-hops  to  left,  reversing  position  of  partners. 

(d)  Measure  7.    Take  four  step-hops  in  place. 

Measure  8.    Return  to  original  position  by  three  step-hops  to  the  left, 

bringing  the  feet  together  on  the  last  beat. 
Repeat  Phrases  c  and  d  to  the  same  dance  figures. 


FOLK   DANCES   AND   SINGING   GAMES  113 

Directions  for  Singing  Games 

RING  A  RING   O'   ROSES 

(Book  One,  page  12.    Teacher's  Manual,  page  193) 

Formation.    A  single  circle,  hands  joined. 

Circle  moves  to  the  right,  with  sliding  step.    At  the  word,  "down,"  all 
fall  to  the  floor. 

THE  HOLIDAY 

(Book  One,  page  15.    Teacher's  Manual,  page  195) 

First  Stanza.    Form  a  circle  and  skip  around  to  the  right.    Hands  joined. 
Second  Stanza.    Drop  hands  and  pretend  to  skip  the  rope.    Throw  the  rope 
high  over  head,  bringing  it  down  so  as  to  jump  on  the  first  count  of  each 
measure. 
Repeat  song  and  action  of  first  stanza. 
Third  Stanza.    Pretend  to  be  fishing.    At  the  end  of  second  and  fourth  phrases, 
jerk  the  rod  out  of  the  water  as  though  a  fish  had  been  caught. 
Repeat  song  and  action  of  first  stanza. 
Fourth  Stanza.    Partners  join  hands,  skating  position,  right  hand  in  right  and 
left  hand  in  left.    Beginning  with  left  foot,  glide  forward  in  imitation 
of  skating.    Do  not  lift  the  feet  from  the  floor. 
Repeat  song  and  action  of  first  stanza. 
Fifth  Stanza.    Seated  at  the  desks,  the  children  move  their  legs  up  and  down 
in  imitation  of  the  motions  of  riding  a  bicycle. 
Repeat  song  and  action  of  first  stanza. 
The  song  may  be  continued  indefinitely  by  the  addition  of  other  activities, 

with  suitable  words. 
Care  should  be  taken  that  the  movements  are  rhythmical. 

THE   MULBERRY  BUSH 
(Book  One,  page  21.    Teacher's  Manual,  page  199) 

The  players  form  a  circle.  While  singing  the  first  stanza  the  circle  moves 
slowly  to  the  right,  the  children  stepping  in  time  to  the  music.  In  all 
stanzas,  at  the  words,  "So  early  in  the  morning,"  the  players  spin 
around  rapidly,  each  in  his  own  place.  The  stanzas  are  all  done  in 
pantomime,  the  action  being  indicated  by  the  lines. 

The  first  stanza  of  the  song  may  be  repeated  after  each  of  the  other 
stanzas. 


114  TEACHER'S  MANUAL 


THE   FARMER 

(Book  One,  page  55.    Teacher's  Manual,  page  220) 

Form  a  single  circle.     During  the  singing  of  the  first,  third,  and  fifth  stanzas 

of  the  song  the  children  move  slowly  around  the  circle,  both  hands  on 

hips. 
Second  Stanza.    Grain  is  taken  with  the  right  hand  from  the  bag  held  under 

the  left  arm.    The  right  arm  is  swung  to  the  right,  and,  at  the  word, 

"sows,"  the  grain  is  scattered  with  a  strong  swing  of  the  arm  from  right 

to  left. 
Fourth  Stanza.    The  players  lean  slightly  forward,  swinging  both  arms  to  the 

right,  then,  with  accented  swing,  cut  to  the  left  while  singing  the  word 

"  reaps." 
Sixth  Stanza.     Swing  both  hands  from  right  to  left,  first  upward  and  then 

downward,  in  imitation  of  flail. 

OATS  AND   BEANS 
(Book  One,  page  91.    Teacher's  Manual,  page  236) 
When  played  as  a  game,  the  following  stanzas  should  be  added. 

3.  Waiting  for  a  partner, 

Waiting  for  a  partner, 
Open  the  ring  and  choose  one  in 
While  all  the  others  dance  and  sing. 

4.  Tra,  la,  la,  la,  la,  la,  la, 

Tra,  la,  la,  etc. 

First  Stanza.    Children  form  a  circle  with  hands  joined,  and  dance  to  the  left 
around  one  child  in  the  center  who  has  been  chosen  to  represent  the 
farmer. 
Second  Stanza.    First  phrase.    Drop  hands.    Sow  the  seed  from  a  sack  held 
under  the  left  arm  by  a  swinging  motion  of  the  right  hand  from  right 
to  left. 
Second  phrase.    Stand  erect  and  fold  arms. 
Third  phrase.    Stamp  foot  and  clap  hands. 

Fourth  phrase.    Place  right  hand  to  brow  and  turn  entirely  around  in 
place,  viewing  the  fields. 
Third  Stanza.     Join  hands  again  and  circle  around,  singing,  "Waiting  for  a 
partner."    At  the  words,  "Open  the  ring  and  choose  one  in,"  the  farmer 
in  the  center  chooses  a  partner  from  the  circle. 


FOLK   DANCES   AND   SINGING   GAMES  115 

Fourth  Stanza.  The  children  in  the  circle  stand  still,  clapping  and  singing  as 
the  two  in  the  center  dance  around  inside  the  circle.  At  the  end  of 
each  stanza  the  child  who  took  the  part  of  the  farmer  at  the  begin- 
ning of  the  stanza  retires  to  the  circle,  and  the  other  child  becomes 
the  farmer. 

IN  WOODEN   SHOES 

(Book  One,  page  44.    Teacher's  Manual,  page  214) 

Formation.  A  single  circle,  hands  joined,  children  standing  as  far  apart  as 
possible. 

The  fun  of  the  dance  lies  largely  in  the  clapping  of  the  wooden  shoes  which 
the  dancers  must  wear. 
First  Stanza.  Beginning  with  the  left  foot,  the  shoe  is  brought  down  on  the 
floor  with  a  sharp  clap  on  the  first  count  of  each  measure,  the  free 
foot  swinging  in  front  of  the  other,  the  feet  alternating  on  each  meas- 
ure through  the  first  three  phrases  and  the  first  measure  of  the  fourth 
phrase. 

On  the  word,  " tapping,"  second  measure  of  the  fourth  phrase,  the  right 
and  left  feet  are  brought  together  with  two  sharp  claps,  bodies  erect. 

Fifth  phrase.  Beginning  with  the  left  foot,  the  dancers  run  toward  the 
center  of  the  circle  with  six  short  steps.  The  third  and  fourth  measures 
of  the  fifth  phrase  are  danced  to  the  same  figure  as  the  first  phrase  of 
the  song. 

Sixth  phrase.    Beginning  with  the  left  foot,  the  dancers  run  backward  to 
their  original  positions  with  six  short  steps.    The  last  two  measures  of 
this  phrase  are  danced  to  the  same  figure  as  the  fourth  phrase. 
Second  Stanza.    First  phrase.    Release  hands  and  turn  to  partner.    The  boys 
bow,  the  girls  bob  curtsey. 

Second  phrase.  Partners  facing  each  other,  sides  to  center  of  circle, 
hands  on  hips.  Stand  erect  until  the  words,  "one,  two,  and  three," 
when,  beginning  with  the  right  foot,  three  sharp  claps  are  made  in  time 
to  the  words. 

Third  phrase.  Again  joining  hands  and  beginning  with  the  left  foot,  the 
remaining  figures  of  the  dance  are  a  repetition  of  the  same  phrases  of 
the  first  stanza. 

WILL  YOU  COME  WITH  ME 

(Book  One,  page  48.    Teacher's  Manual,  page  217) 

Directions  for  this  game,  with  additional  stanzas,  will  be  found  on  page  217  of 
this  Manual. 


116  TEACHER'S    MANUAL 

DANCING    SONG 

(Book  One,  page  93.    Teacher's  Manual,  page  127) 

Formation.    A  single  circle. 

First  phrase.    Clap  hands  three  times. 

Second  phrase.    Devitalize  wrist  and  shake  loosely. 

Third  and  fourth  phrases.    All  join  hands  and  skip  in  a  ring.    If  desired, 

this  figure  may  be  varied  by  couples  joining  hands  and  whirling  in  a 

circle. 
Fifth  phrase.    " Bending  lightly."    Take  position  for  bowing;  girls  with 

skirts  spread  and  boys  with  heels  together.     "Bow  politely."     Girls 

curtsey,  boys  bow. 
Sixth  phrase.    Resume  upright  position,  ready  to  begin  again. 


LONDON   BRIDGE 

(Book  One,  page  95.    Teacher's  Manual,  page  238) 

Choose  two  of  the  tallest  players  to  represent  the  bridge.  These  face  each 
other,  clasping  hands  high  over  their  heads  to  form  an  arch.  The  re- 
maining children  form  a  line,  one  behind  the  other,  each  player  hold- 
ing to  the  dress  or  with  hands  on  the  hips  of  the  one  in  front.  While 
singing,  the  line  passes  under  the  arch.  At  the  words,  "With  a  gay 
ladye,"  the  two  keepers  of  the  bridge  let  their  arms  fall,  catching  which- 
ever player  happens  to  be  passing  under. 
The  keepers  privately  agree  which  is  to  represent  gold  and  which  silver. 
The  child  caught  is  questioned  in  a  whisper,  "Do  you  choose  gold  or 
silver?"  After  making  the  decision,  the  child  stands  behind  the 
keeper  he  has  chosen,  and  when  all  the  children  have  been  caught 
the  game  ends  in  a  tug  of  war  between  the  two  sides. 

AT  THE  DANCE 

(Book  One,  page  71.    Teacher's  Manual,  page  126) 

First  Stanza.  First  phrase.  The  girls  may  be  in  their  seats  or  standing  upon 
the  floor  in  a  straight  line.  Each  boy  advances  to  his  partner,  singing 
the  words  of  the  first  phrase  and,  with  a  bow,  inviting  her  to  dance. 

Second  phrase.  Girls  sing  the  second  phrase,  accepting  the  invitation 
with  a  low  curtsey. 

Third  and  fourth  phrases.  Both  singing,  the  boy  takes  the  girl's  left 
hand  in  his  right  and  leads  her  to  the  circle,  where  all  drop  hands. 


FOLK   DANCES   AND   SINGING   GAMES  117 

Second  Stanza.    First  phrase.    All  singing.    Bow  to  partner. 

Second  phrase.    Bow  to  neighbor. 

Third  phrase.     First  two  measures.     Slide  right  foot  forward.     Second 
two  measures.    Lift  foot  and  point  toe. 

Fourth  phrase.  First  two  measures.  Slide  left  foot  forward.  Second 
two  measures.  Slide  right  foot,  then  left  foot,  then  bring  both  feet 
together. 
Third  Stanza.  Face  partner,  the  girls  all  facing  in  one  direction,  the  boys 
in  the  other  direction.  Beginning  by  giving  right  hand  to  partner, 
walk  around  the  circle,  alternating  right  and  left  hands,  until  the  part- 
ners meet.  Should  the  circle  be  so  large  that  partners  do  not  meet  by 
the  end  of  the  stanza,  the  music  may  be  repeated  to  "Tra,  la,  la,"  etc. 

THE  MAYPOLE  DANCE 
(Book  One,  page  72.    Teacher's  Manual,  page  227) 

Formation.  A  double  circle,  facing  the  left,  boys  inside,  girls  outside;  the  may- 
pole with  long  ribbons  hanging  from  its  top,  one  ribbon  for  each  dancer. 

First  Stanza.  Join  inside  hands,  outside  hands  on  hips,  and  skip  around  the 
circle.  At  the  "Tra-la,"  form  a  single  circle,  all  hands  joined,  skip  to 
the  center  of  the  circle,  and  then  all  skip  back  again  to  place. 

Second  Stanza.  One  couple  at  a  time  advances  to  the  pole  to  get  ribbons. 
Inside  hands  are  joined  and  the  ribbons  grasped  in  the  outside  hands. 
The  second  stanza  is  continued  until  all  have  taken  ribbons.  For  the 
refrain,  repeat  the  figure  danced  to  the  refrain  of  the  first  stanza, 
holding  ribbons  in  the  outside  hands.  When  approaching  the  center 
of  the  circle  the  hands  should  be  raised;  in  retiring,  the  hands  should 
be  lowered. 

Third  Stanza.  Face  to  left  in  single  circle,  ribbons  in  outside  hands.  For  the 
first  phrase,  holding  ribbons  high,  skip  around  to  the  left.  For  the 
second  phrase,  turn,  change  the  ribbons  to  outside  hands,  and  skip  to 
the  right.    The  refrain  is  danced  as  for  the  second  stanza. " 

WHEN    I   WAS   A    SCHOOLGIRL 

(Teacher's  Manual,  page  128) 

Formation.   A  single  circle. 

First  Stanza.    First  and  second  lines.    Players  join  hands  and  dance  slowly 
around  the  circle. 
Third  and  fourth  lines.    Drop  hands  and  sing  the  words  with  appropri- 
ate gestures.    Players  may  walk  around  the  circle  holding  the  hands 


118  TEACHER'S   MANUAL 

together  in  front,  as  if  studying  from  an  imaginary  book,  or,  remain- 
ing in  place,  may  skip  imaginary  ropes,  etc. 

Second  Stanza.    First  and  second  lines.    Again  joining  hands,  dance  around 
the  circle. 
Third  and  fourth  lines.    As  in  first  stanza,  but  with  gestures  appropri- 
ate for  a  schoolboy. 

This  song  may  be  used  as  an  additional  singing  game  in  either  the  first,  sec- 
ond, or  third  grade.  It  may  be  continued  indefinitely  by  substituting 
other  characters  in  place  of  schoolgirl  and  schoolboy,  as,  for  example, 
cobbler,  blacksmith,  lady,  soldier,  tailor,  reaper,  etc.,  allowing  the 
children  to  exercise  their  imagination  in  the  selection  of  appropriate 
gestures.  Care  must  be  taken  that  all  the  motions  are  rhythmical 
and  in  time  with  the  music. 


FOLK  DANCES  AND  SINGING  GAMES 


The  Chimes  of  Dunkirk 

("The  Frig-htened  Pumpkin,"  Book  One, p. 83*) 


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Dance  of  Greeting 


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T.  M.  Vol.  1—9 


119 


120 


Children's  Polka 


Folk  Dance 


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Lassies  Dance 

"Kull-Dansen" 


Swedish  Folk  Dance 


Shoemakers'  Dance 


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I  See  You 


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"Nigarepolskan" 


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4t 


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Gustave's  Toast 

"Gustafs  Skal" 


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The  Ace  of  Diamonds 


Danish  Folk  Dance 


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Swedish  Folk  Dance 


26 


At  the  Dance 

(BookOne.p  71) 


Abbie  Farwell  Brown 

u    Allegretto  J  =120 

1-  "Lit  -  tie  maid, 
2  -  Rea  -  dy  now, 
3-    In        and    outv 


Finnish  ^Melody 


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make  a  bow, 
round    a    -    bout, 


Will      you   dance  with  me?" 

Bend  -  ing-    with    the  knee; 

Glide    the      mer  -  ry  foct! 


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Up  a  -  gain, 
Here    we       go, 


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turn  -  ing-     then, 
there    we      go, 


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ap  -  py       I         shall 
Ea  -   sy       as      can 
To      the     mu  -   sic 


-<9- 

be." 
be! 
sweet ! 


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Ko  -   sy    cheeks  and 


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lit  -  tie       foot, 

laugh  -ing-     eyes, 


Give   to       me    your  hand; 

Point -Log-     out      the  toe, 

Col  -  ors     g-ay     and  bright, 


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There's  the     way    to 
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g-o' 

light. 


3 


127 


Alice  C.D.Riley 

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Dancing  Song 

(Book  One, p  9;i) 


W.  Otto  Miessner 

Composed  forlhis  Series 


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Clap       your  hands,  one,  two, 


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3 


PART  FOUR 

ADDITIONAL  ROTE  SONGS 


When  Mother  Sings 


Margaret  Thurston 

Quietly     J  =  66 


W.  Otto  Miessner 

Composed  lor  this   Series 


V  4-     M 


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"When  mother  sings  my       lul    -    la-  by,    I  do     not    keep  a     -     wakep  nor  cry ;  She 


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rocks  me     to        and        fro; 


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Her      voice    is    sweet    and         low,        When   she 


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129 


How  Many  Days  has  my  Baby  to  Play 


other  Goose 

Brightly    J-  =,84 

Kb* 


Arthur  Whiting- 

Compiled  (<r  to;s  Series 


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How  ma-  ny  days   has    ray        ba  -  by     to      play? 


Sa  -  tur  -  day,  Sun  -  day, 


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The  Man  in  the  Moon 


Virginia  Baker 

Allegro  moderato  J  =112 


131 


Bessie  M.Whiteley 

Composed  for  this  Series 


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FunnyManup     in  the  Moon,   Did  you  once  come  down too  soon?   Tellme,then,      how  and  when 


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Did  you  once  come  down  too  soon?  Tell  me,  then,      how  and  when   You  went  back  a  -  gain 


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Choo-choo-choo 


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1.  Choo- choo-choo    is    a      great    big-  horse  That  is      made   of       i  -    ron         strong". 
2.Choo-choo-choo  has  an        i    -    ron  nose   And  he   wears   an       i  -  ron        shoe. 


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Choo- choo-choo  pulls        hea  -  vy 
Choo-choo-choo  eats  wood  and 


loads,  And         works  the    whole  day       long, 
coal,     And         seems  to      like      it  too. 


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133 


The  Little  Seeds 


Alice  C.D.Riley 

Not  too  quickly  J-  =76 


English  Folk  Song- 


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1.  In     spring- time  the    far-  mer  walks      to        and    fro,  Sow 

2.  In        sum- mer    the  wheat  stands  so     straight  and    tall,  Wav 

3.  In        au  -  tumnthe     far-  mer   his  sic  -   kle     brings,  Reap 


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ing. 


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and 


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wind    pas  -  ses       o    -  ver 
den  grain  falls  as 


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earth       to        grow,  And  they 
bends     it         all,      And    it 
sic     -     kle   swings,  And   he 


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grow-  and  grow,  they  grow  far  be  -  low,  Do  these  trim  lit  -  tie,  slim  lit  -  tit- 
grows  and  grows,  it  a  grows  for  the  fall,  To  make  trim  lit  -  tie,  slim  lit  .  tie 
shouts    a       song,     yes,  I   joy-  ful  -  ly     sings  Of     the  work  of      the     slim    lit  -  tie 


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Yes,     in  -   deed!       Trim  lit  -  tie,  slim  lit  -  th> 

Yes.    in  -  deed!       Trim  lit  -  tie.  slim  lit  -  tie 


Y- 


seeds. 
seeds. 

seeds. 


134 


The  Hall  Clock 


Carolyn  S.Bailey 

Briskly    J  —  92 


William  E.Haesche 

Composed  for  this  Series 


ri 


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1.  He  otar.da  in       the     cor  -  ner  from 

2.  His  hands  are     quite   ti   -    dy  and 

3.  At  nJght,  "when  I'm     sleeping-,  he 

4.  And  when  it     comes   morning-  I 


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morning- 

till                 ni^ht, 

A 

grow 

on      his      face, 

And 

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wide    a    -    wake 

To 

wish  

he    would    tell  — 

I 

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round  as  a  moon,        And 

oth      -  er  so  short ,  And  — 

in  thro'  the  blind,  His  

saw  in  the  night  Does  he 


135 


W1  LJ:E  (i  PJ 


oh,  so    ex- ceed-ing-ly neat. 

one  he     moves    fast    and  one slow. 

lit  -  tie     red —  shoes    soaked  with  dew. 

show in     his    so-ber    old —  face. 


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From    break- fast   to  sup -per,      Right 

From    break-  fast  to  sup-per,      Right 

From    sup   .    per  to  breakfast,   From 

From     break- fast  to  supper,      Right 


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on  through  the  day, 

on  through  the  day, 

night  -    time      to  day( 

on  through  the  day, 


"Tick 
"Tick 
''Tick 
"Tick 


tock! 
tock! 
tock! 
tock! 


tick 
tick 
tick 
tick 


tock!  I'm 
tock!  I'm 
tock!  I'm 
tock!  I'm 


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on    -    ly    a    clock,  I'm      on    -     ly   a   clock! 


Tick  -  tock!    tick  ~   tock!  I'm 


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say. 


iUrt 


a 


-«- 


T.  M.  Vol.  I— 10 


A  Telephone  Message  HoratioParker 


orge  Reiter  Brill 

=100 


Composed  for  this  Series 


1.  Thi-  kle,    tin  -  We, 

2 .  Sis  -  ter    wants  a 

3 .  Please  be   sure    to 


tel     e-  phone,  Can't  you  get  him? 
ba  "  bv  doll,       Brother  wants  a 
bring  a     tree;     Bring  a    big    one 
ring  off.      Don't  for.getjhe 


What's  the  cause?  Give  me 
coast- ing  sled-  Hel-lo 
like     last   year;  Things  to 
ba  .   by     doll.   You  might 


North  Pole.twen-ty     -  one,— 

San  -  ty,      did    you  hear  I 

fill       the      stockings,  too. 

bring   a        gun   and  drum 


Hel  -  lo!      Is      that 
Coasting    sled   is 
Hel  -  lo       San  -  ty, 
Thanks, dear  San-ta 


San   -  ta 

what  I 

did  you 

Claus,  that's 


Claus? 
said, 
hear? 
all! 


M.Edith  Reynolds 

J  =  96 


Indian  Song 


M.Edith  Reynolds 

5 


yi    -    y 


We         are      In  -   dians     in 


our    war  -  paint. 


a  *„«,    a     bawks  We         hunt     the 
With      our  spears  and  torn- a-  hawKs, 


tame    and    pale-faced  peo-ple. 


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Frosting 


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Julia  W.  Bingham 
From  the  Spanish 

Slowly,  dreamily 


My  Beautiful  Doll 


Josephine  R.  de  Ellas 


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1.  This   is  my  favorite       dolly; 

2.  Dol-ly -wears  beautiful    dresses, 

3.  Whenev'ry  evening- the  shadows 


Is- n't  she  perfectly     sweet? 
Dresses  of  pink,blue,or    white; 
Thro1  the  wide  windowpanes  creep, 


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See  her  wee  hands  full  of  dimples, 
Dainty  silk  socks, ti  -  ny  slippers, 
Bedtime  and   sleepy     time    bringing-, 


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See  her  two  dear  lit-  tie        feet! 

Fastened  -with  buckles     so         brig-ht; 

Dol-ly-must    gx>  fast    a  -     sleep- 


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Hats  trimmed  with  flowers    and     ribbons , 

Gen-tly    I    hold   her    and  rock  her, 


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Eyes  just  as    blue    as    the        sky,— 
Pret-ti  -  est  hats    I      can       buy,  — 
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"Close    your  blue  eyes, dar- ling"      dolly, 


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Dear  lit-  tie      dol-  ly     and 
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1.  Two    lit  -  tie     chil- dren     came  to    day.  They  both  were  sweet  and      neat  and  gay  They 

2.  A         cat  came  up      my        gar  -  den  walk.  The     pretty      pus-sy       could  not  talk,  But 

3.  A         bluebird   whistled        for      a  crumb.  I        asked  him   if      he       would  not  come.  But 


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mewed  as  plainly  as  could  be,  "Oh,  if  I'm  asked 
when  he  saw   the       oth  -  er  three  He      said  "No  thanks, 


We'll  stay  to  tea." 
I'll  stay  to  tea." 
No     tea     for    me!" 


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A  February  Song 


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he  -  roes   brave  and      g-ood. 

birthdays      of      these   men, 


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We         know    by     be  -  ins:     brave  and  good1  We 


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give     us       he-  roes    strong";  You         give     us      he --roes     strong-! 

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1.  PrinceFin-  i  -  kin 

2.  "Most   cer-tain-ly 

3.  But      Dol-ly     looked 

4.  Then  Fin-i  .  kin's 

5.  So       Fin-  i  -  kin 


and       his       ma  -  ma       sat 
it  can  -   not    be        a 

and       smiled  at      them;   she 
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hea.  "Good  gracious,"   said     His  High-  ness," Why,  what 

town,—  "         He  turned  him  round  to  his       ma-  ma,     who 

word.  "She  has       no    voice," said  Fin  -    i  -  kin;  "It's 

me  She  looks   as     if         she'd  like       to     drink  a 

pie;  Then  turnedand  said,  "My  dear     ma -ma,     oh, 


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"Honk,  honk,   ker  honk!" 

"Honk,  honk,   ker  honk!" 

"Honk.  honk,   ker  honk!" 


Oh,  hark   to    our  leader's 

No  com- pass  have  we     to 

Our  course  to   the  North  we 

Oh.  hark    to   our  rinsr- ing: 


cry.  By 

show  The 

take ,  Our 

cry.  Now 


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night  we    fly    thro'  the 
path  to      go     but    the 
nests  to    make    by     a 
low,   now  hig-h.thro'  the 


win  -  dy  sky, 

way  we  know, 

ree   -  dy  lake, 

ni^ht  we  fly , 


Honk,  honk, 

Honk,  honk, 

Honk ,  honk  , 

Honk ,  honk , 


honk! " 
honk!" 
honk!':      I 
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Little  Miss  Patty  and  Master  Paul  Ms 

Kate  Greena^'ay  Horatio  Parker 

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found  two  snails  on  the        gar- den -wall.  "These  snails"  said  Paul,"  how      slow     they  walk!  A 


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Mouse ,  she    cocked  her 
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cheese. 


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Dandelion.Yellow  as  Gold 


YtomThe  American  Primary  Teacher 
Moderato    J- =  66 


Frank  van  der  Stucken 

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frl  J  I J    J-l  J'J^r  'plr  ^n  ^N-_  fe^ 


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Horatio  Parker 

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ro  .  ses  show,  And  the 
sun  -    f low'rs  glow,  And  the 


mer    -     ry    thros   -    tie  call . 

mea    -   dow   grass        grow      tall, 
red  -•  cheek 'd  pip     -      pins        fall.. 


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spring-, my  dear, 

sum  -    mer,    #  my  dear, 

au    -    tumn,     my  dear, 

£=4 


the 
the 
the 


sweet  of 
queen  of 
crown   of 


the  year, 
the  year, 
the        year, 


Its 
Its 
Its 


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know; 
know; 
know; 


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world 


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is  sweet  where  the 
is        bright   for  our 


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whole  day        l°ng","  Said     the 

warm  winds    meet,"  Said     the 

heart's  de  light,"   Said     the 


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three  lit 
three  lit 
three      lit 


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heads  in 
heads     in 


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row 
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T.  M.  Vol.  I— 11 


The  Grasshopper  s  Ball 


Cate  Louise  Brown 


Adolf  Weidig- 

Composed  for  this  Series 


h  N* 


fcfiM.f-frrm 


In     the    sky     the  sun    is      shi  -ning",     From  the   elms  the  rob-ins    call; 


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Little  brown  legs,  so       light  and  slen-der,        Mer-ri-ly         o-verthe         grasses     swing-; 


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Nina  B.Hartford 

J=nl52 


Swing  Song 


153 


Nina  B .  Hartford 

Composed  for  this  Series 


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1.  Swing,        swing,         swing,  swings,        Under  the  ap     ,    pie    tree. 

2 .  Slow,        •  slow,  slow,  slow,  Under  the  ap    .     pie    tree. 


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Sing-,  —     sing-,  —       sing-,  —     sing-, 
To        and    fro,  slow    we    go, 


Happy  and  gay        are   we. 
Playing-  a      game     are  we. 


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Now  like  a     bird  we  go     up        so      high, —   Almost   as     far- as  the    blue,   blue  sky.   So 
Whenthe  old  swing  stops  it  -  self     this    way"We re  letting  the    Pus-sy-cat    die,"    we    say.    So 


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swing, 
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swing, 
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Under  the     ap   -    pie    tree. 
Under  the     ap    -   pie    tree. 


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154. 


One  Misty,  Moisty  Morning 


Mother  Goose 

Slowcx  *    —80 


Arthur  Whiting- 

Composed  for  this  Series 


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4'    '    * 


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J        d        4 


One      misty,      moisty        morn-  ing,  When    cloudy     was     the  weather, 


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chanced  to  meet     an  old  man 


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Clad         all     in  leather. 


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J'  J      I  I  J,— ^ 


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He      .  be  -  gan     to  com-  pli-  ment; 


T     r      f 

I  be  -  g"an      to  grin;  — 


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How  do  you   do?     and      how  do    you  do?    And        how  do'  you  do        a 


L'j     •<  j    ^  I  E 


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Frank  L.  Laird 

J  =72 


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Chrys  Anthemum 


155 

W.  Otto  Miessner 

Composed  fur  this  Series 


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You're    a  rare    old    fellow,  Chrys  An  -  the  -  mum,  With  your     hair     gold     yellow,  Chrys 


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An   -   the    -    mum.     Some  wear        it        white      and 


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I       like  yours  much    morel    think.  You're  a         big-    old    jollv  Chrys    An  -  the- mum;  Oh, 

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say,     tell  me,  pray. "Where  did 


you        come  from? 


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156 

Robert  Louis  Stevenson 
Allegretto  J-=80 


Windy  Nights 


Margaret  Peddle  Bodde 


v$=j-h\  j»  j'  r  J  i  xj  *  j  j 


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* — * 

1.  When-  ev  .    er    the    moon    and         stars      are   set,      When-  ev.  er  the    wind      is 

2.  When-ev  -    er    the    trees    are         cry-ing  a  -  loud,     And       ships    are    tossed   at 


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high, 
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All  night     long-,      in    the  dark       and  v/et, 

By,        on  the   high       way,  low        and  loud, 

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man    goes  ri    -     ding        by. 
By  at  the    gal- lop  goes       he. 


Late  in  the  night  when  the    fires  are  out, 
By     at  the  gal- lop    he      goes,  and  then 


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Why  does  he    gal  -  lop    and      gal  -  lop    a-  bout? 
By    he  comes  back  at     the       gal  -  lop    a  -  gain . 


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Rock-a-bye,  Hush- a-bye,  Little  Papoose 


157 


Charles  Myall 
*     a   Andante  J.;=132 


W.R.Cowles 

Composed  for  this  S«ries 


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1.  Oh,      rock  -  a  -  bye, hush-  a  -  bye,  lit  -  tie    pa-poose,  The 

2.  The     pine  treesare   slum-ber-  ing,  lit  -  tie    pa-poose,  The 

3.  The     roe  -  buck  is      dreaming-,  my  lit  -  tie    pa-poose,   His 

4.  Then   hush-  a-  bye,  rock- a-  bye,  lit  -  tie    pa-poose,   You 


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stars    have  come   in  -    to  the  sky; 

squir-rel      has      gone  to  his  nest; 

mate    lies      a  -    sleep    at  his  side, 

sail     on      the      riv.    er  of  dreams; 


The  whip -poor- will's  cry- ing-,  the 

The  rob -ins      are      sleeping-,  the 

The  breez-es      are      pin  -  ing,  the 

Dear  Man-  i    .    tou    loves    you  and 


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day.  light    is  dy  -   ing,  The  riv-  er  runs  mur-  mur-  ing-  by. 

moth    er     bird's  keep-ing  The  lit  -    tie  ones  warm  with   her-  breast, 

mo  on- beams  are  shi  -  ning-  .All  o    -    ver  the    prai  -  rie     so  wide, 

watch-es       a   -  bove  you  Till  time  when  the     mora- ing   light  gleams 


k 


58 


Bedtime 


.H.T. 

rom   The  Youth's  Companion 

J  =76 


Osbourne  McConathy 


A  -,;  }  >}  ,  |    igEg^ 


iTT^  1  1'  J'  Jo 


Dd   you   know  why    the    snow  Is  hurrying"    through  th«'  gar-den   so? 


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Do       you     know 


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why      the       snow    Is  hurrying  through  the      gar  -   den 


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nice       soft        bed     'Neath    the 


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sleepy     lit-  tie     flow,    er's  heads; 


Just     to      spread        a 


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cud- die    up        the        ba  -  by  ferns  And       smooth  the  lil  -    ies'  sheet, 


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tuck        a  warm, -white    blan-ket   down  Around  the        ro     -    ses'  feet. 


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Alice  C.D.Riley 

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Kris  Kringle's  Song 


Catharina  van  Rennes 


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1.  Come,  Dan 

2.  We      stop 

3.  Now    fill 


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be  -    side 
the      stock 


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we    •    must  go,_    The   roofs    are  white,   with    snow, 
chim  -  ncy    wide,— The  folks      a-sleep     in   -    side, 
all         com-  ulete     With  toys     and  good  -  ies      sweet. 


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A  -  way,        a  -  way     with 

Heigh- 0!        Heigh-0!     What 

A  -  way,        a  -  way!    The 


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packs  of  toys  For  hap  -  py  girls  and  boys! 
dreams  are  these  Of  shi  -  ning  Christ  -  mas  trees! 
chil  -  dren   dear        A  -   wait    their  Christ- mas    cheer. 


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Ho  -  la! 
Ho  -  la! 
Ho  -  la! 


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Ho 
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For       hap      -       py   girls        and      boys! 
Of        shi      -      ning  Christ-  mas      trees! 


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We'll       bring- them  Christ     -    mas        cheerl 


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Eatings 


Louise  Ayres  Garnett 


Louise  Ayres  Garnett 


j. 


84 


^   J'  P    P"     H    P    J        j'l    J>^ 


delicately 


Cod-fish    balls     for        luncheon,        And    prunes  and  milk       for         tea! 


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That's  the    kind    of  eat  -  ings       My  par  -  ents'    give     to 


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Can-dy    for         my        luncheon         And         jel  -  ly     tarts    for  tea, 


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I   would   have  for  eat-  ings  If  things  were  left     to 


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Nina  B.  Hartford 


J  = 


168 


The  Song  of  the  Wind 


±E^i 


163 


Nina  B.  Hartford 


^^ 


^HH^ 


live      in       the 
rat  -   tie       the 


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1.  Oh,  I        am       the        North  Wind!    I 

2.  I  tap     at         each       win  -  dow      and 


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freeze    with      my 


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pass; 


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whis  -  tie 
kiss       all 


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chil   -    dren       at 


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play, 


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their  no  ses, 


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blow      on         my 


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Sing  a  Song  of  Sixpence 


lother  Goose 

J=rl04 


Arthur  Whiting; 

Composed  for  Ihis  Senea 


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Sing-     a       song     of       six 


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pence,    a  poc  -  ket      full        of        rye; 

• — ■ — \ 


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Four  and  twenty  black  -  birds       baked   in       a     pie. 


When  the  pie    was   o  -   pened  the 


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birds  be-gan   to   sing; 


Was -n't  that  a  dainty   dish  to  set     be- fore    the  King! 


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\Vas  -n't  that  a     dainty  dish  to       set  be-fore  the  King!        The  King  was  in  his  counting- room, 


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counting1  out  his  money The    queen  wasin   the  par-  lor,     eating-  bread  and  honey .  —  The 


4 


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165 


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maid -was  in  the  gar-  den,   hanging- out  the  clothes;—     A 


long  came    a      black  -  bird  and 


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nipped  off  her  nose,         A    - 


long  came  a     black-  bird  and    -  nipped   off   her  nose! 


;£p£; 


lJ    U  * 


Icicles  and  Bicycles 


Anna  M.  Pratt 

Rather  fast  J  =  92 


^3 


£-$  i  J'  '  FT 


Horatio  Parker 

Composed  for  this  Series 
J 


f=* 


^==f 


J 


1.  I     -     ci  -   cles    and 

2.  Bi  -    cy-  cles    and 


— Y~ 

bi   -    cy  -  cles    Make    such  a      pret-ty 
i     -    ci  -   cles,  They're  al  -  most  mer-ry 


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rhyme,     Though 
mates;        The 


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one       be-  longs  to 
boy      who  rides  a 


win  -  ter     days,  And 
wheel    in      June    In 


one        to    sum-  mer  time. 

Jan  -    u  -  a  -    ry  skates. 


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The  Jolly  Holly  Farm 

Louise  Ayres  Garnett  Louise  Ayres  Garnett 

J  =92  . 

ten.  ^ 


w    h  *  b  *    J) 


J>-  J)  J'  I  J  J' 


I've       a     Toy  Farm  where  I  raise 

On       my  farm  the     wool-  ly  sheep 

Once     a      lit  -   tie     pig-      got  loose, 

We     make  most  be  -  witch  -  ing  dolls, 
ten. 


Things     to     fill     you     with   a   -     maze; 
Graze      by    pa  -  per     mountains  steep, 
Ran         a  -  bout  and  chased  a        goose, 
And     their  dain-ty       fol  -  de  -    rols, 
ten. 


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Plaster  fruits  and  rubber  hams  And  tarl'ton  bagsof    sweets 
Guarded    by     a     chi-nadog  And  waxen   shepherdess. 
Which  made  Mistress  El-  e-phan-tess  Madly  frisk  her  trunk. 
Al  -  so  books  and  merry  games  That  cannot  fail    to  charm. 


Can  -  dy  canes  and  colored 
Woodendeer  stray  in  the 
Pan- demo  -  ni- um    en- 
When  you  have  the  time  to 


egg's, 
park, 
sued! 


spare, 


f  I-  i-  J'  J^j>  ;j  l  i.  J^T^p'  p  r    ■  \r  ^  j'^=^ 


Su  -  gar  cows  with  choc- late  legs,  And   the  most  de  -  li-cious  things  That  a-  ny-  bo-  dy  eats. 

Meeting  from  the    No-ah's   Ark  Al     thekindsof  an-i  -  ma-ls,- A   thousand.moreorless. 

Li  -  ons  fought  and  kittens  mewed!  And   the  most  engaged  of  all      Was    acro-ba-  tic    monk. 

Come  and  sec  us,     we'll  be  there;  Glad    to    bid  you  welcome  to      The    Jol-ly  Hol-ly    Farm. 


3=3^W5rr=I 


Mrs.  MI.  Butts 

J=80 


Winter  Jewels 


167 
Mildred  J.  Hill 

Composed  for  this  Series 


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A         rail -lion     lit   -   tie         diamonds         Were      twinkling-  on      the         treeS,  And 


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all     the      lit   -    tie         maidens     said,  "A  jew-  el,       if         you    .    please!"         But 


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while  they    held  their       hands    out -stretched  To        catch     the      diamonds        gay, 


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sun  -  beams  came    And 


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T.  M.  Vol.  1—12 


If 


Lee  Burns 

Lightly  J  =  84 


Horatio  Parker 

Composed  (or  lbs  Series 

5 


**¥ 


;t  r  i  J'  f  f  g-^H=p  f ' Jl  P F  U"  i  r- 


i.  if 

2.    If 


ill 


all    the     lit  -  tie       girls  were  boys  How  should  we  get     a 
all    the    lit  -  tie       boys  were  girls  What  -  ev  .  er  should  we 


I 


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long-? 
do? 


For 
Where 


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who  would  put    the 
should  we  get    our 


dolls      to    bed    And      sing  their    sleep-y         song?  Then 

sail  -   ors   bold   To        fight  the      pi  -  rate       crew?  Then 


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keep-ing-  house  And        use      the  play-house       toys?  Tell 

cross  the  brook   Down     where  the  mill    "wheel       whirls?       Tell 


who   would  play  at 
who  would  wade  a 


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me,   haw  should  we 
me,  what-  ev  -    er 


get     a   -    long    If 
should  we     do        If 


all        the    girls    were 
all        the     boys    were 


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boys? 
girls? 


i 


Florence  C  .Fox 

A  Misterioso    J  =76 


The  Goblin 


169 

Bessie  M .  Whiteley 

Composed  fortius  Scries 


I  -  /  ^.l  J'.  ^-  Jryj^-;,!  J',  pp-  if    ^ 


A         gob  -  lin  in      the  corner         Was      watching-  me       at    play,        I 


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saw        him  grin       and  wag  his    chin,     And         then         I       ran  a  -  way.  I 


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fl'H'  frf^1  Jl  J.  >(!•  p  EEEEEE^E? 


saw  him  grin  and  wag  his  chin,  And    then    I   ran      a 


way 


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170 


The  Umbrella  Man 


Bertha  Remick 

Allegretto  J  =76 


Bertha  Remick 

Composed  (or  thjs  Senfs 


o    "if 


^ 


When  the         sun     is      shi- ning- 


H< k 


m^?=^ 


bright     and      warm,        What  makes    us       think       of 


h^^k^0 


rain. 


a 


The 


old         urn    -    brel  -    la 


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man.     of      course!  To  day     he's     come      a  - 


fei 


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i-Jj  I  Jl    p   $-4  '    Jl   P 


171 


h  b  < 


gain. 


He  mends    a  rib        and  sews     a  tear,  And 


.£ 


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f— r— r-tr 


makes    them     look       so 


neat, 


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JTJ    J     J>    >Z^ 


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house    he       goes. —        1  hear     him    down     the 


street : 


"Um 


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1=1 


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brel  -  las  to  men-n-  n-d!  Um  -  brel  .  las  to  men-n-n-d!" 


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172 

Pauline  Frances  Camp 


Miss  Rainy  Day 


i 


Gloomily  J  =  72 


W.  Otto  Miessner 

Composed  for  tbu  Series 


5. 


e=j 


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a'   •*  '    * 


Miss  Rain   -     y  Day 


has  come       a      -      gain,  Tap, 


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tap,  tap,      tap  -   ping-      on        the 


win      -     dow     -    pane. 


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Sun-  ny    Smile,      with        greeting;    gay,         And         help      her     spend   a      hap-  py, 


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i 


The  Windf  lower 


Laura  E.Richards 

Allegro  giocoso 


173 
Harvey  B.Gaul 

Compo&id  (or  this  Series 


Wlnd-flowr.wind-flow'r.Dance.dancewith  me 


This  way,  that  way,    Un  -  der  the     tree. 


<&*. 


L74. 

Bertha  Remick 

Andante  J.=  66 


The  Scissors  Grinder 


pi 


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Bertha  Remick 

Composed  f,ir  'm<>  Series 


/ 


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Ding-  dong!       Ding  dong! 


i 


mm 


*  j  J'  -n  j  i  ,i.  f 


r   J-'ir  i?  L/jj 


What's  that  bell     we        hear?. 


Ding    dong!     Ding    dong!    Ring-ing   loud    and 

I_JL_i.  I    T   i  =£i 


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That's  the   scis  -  sors  -  grind-  er-  man,     Coming  down  the        road, 


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See     him   grind    my         dull     old  knife,       While     his   wheel    goes        whirr- r-r-r! 


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Till      he    makes  it         sharp    and    hright;     "Watch  and    nev .  er  stir. 


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Ding  dong!  Dingdongf  Come  an-  oth  -  er       day! 


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176 

Mother  Goose 

In  sprightly  manner  J  —  132 


Little  Robin  Redbreast 


W.  Otto  Miesa&er 

Composed  for  this  Series 


r\ 


!•  J>  >  J»  J     f  j 


'iTffTf  f ,  i  Jf  't  r 


Lit -tie  Rob- in    Red  -  breast 


*  •, 


:/  "\«: 


O 


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fL+  j    j.  j.  ^^^^ 


Ok 


^^ 


Down  went     Pus -sy  Cat,  A    -    way      Robin  ran;  Says    lit  -tie  Rob- in  Red  -breast > 


* 9 


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"  Catch  me  if  yon  can.  *' 

dfc 


177 


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Little    Robin   Red- breast    Hopped  up-on     a      spade.  Puss  jumped  af- ter  him, And 


#^ 


then  he  was     a  -  fraid 


Little    Robin  chirped  and  sang", 


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what  did   Pus-sy   say? 


Pus-syCat  said,"  Mew  Mew,' 


And 


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& 


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178 

Abbie  Farwe  11  Brown 
Fast  J  =  126 


The  Naughty  Tulip 


Horatio  Parker 

Composed  for  this  Series 


iHf\  jrn,  j.  >  j>  j,  j-  J  1  J', j  J  J  J  -^y 


£ 


l."I  wish     I      were  a        vi  -  o  -    let,"    the         naughty     Tu  -  lip      said.  "I 

2.  She      hung-  her     lit  -  tie    head    and  sulked  and        shook  in      sil  -  ly       grief;  She 

3.  Just      then>  as      she   was  whim-  per-  ing,    a  breeze  came  passing     by;  He 


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want  to  wear  a  pret-  ty  pur-  pie 
sought  to  hide  her  love  -  ly  hat  be 
heard   the     Tu  -    lip      scolding       with  her 


hat      up  -   on      my      head.  I'm 

hind    a        pointed        leaf;  And 

pret-ty       hat      a    -    wry.  So 


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ti  .    red      of      the      ug  -   ly        one     I  al  -  ways  have    to        wear;  I 

when  the      kin-  dly    pleas -ant     Sun     beamed   down  on      her      and     smiled,  She 

then   to        pun  -  ish      her     he       blew,   and      whisked  the      hat      a     -    way;  And 


nev  -  er  chose  a  yel  -  low  hat! 
pou-ted  and  she  flou-ted  him, 
now  she  stands  and    shiv-ers     there, 


O  dear,  it 
the  naugh-  ty 
bare-  head  -    ed 


=^ 


P3==J= — j — 4 — *=• 
1  s  gy 

mm* 


is  -  n't  fair!" 
Tu  -  lip  child! 
all        the      day ! 


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Faster 


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Mother  Goose 

J  =  72 


The  Cats  of  Kilkenny 


179 

W  .Otto  Miessner 

Compiled  for  this  Seric? 


P 


l>    J)    }   £    j>   J> 


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There     once  were  two  cats  of   Kil  -  ken-ny.  Each     thought  there  was  one    cat     too 


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p  F  r   ;  i-f-r-^-prtr"? '  f  f  T  Cj     g'E 


many. 


So  they    fought  and  they  fit,  they   scratched  and  they    bit,  Till,  ex 


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cep -ting-their  nails     and  the    (ips  of  their  tails,  Li-  stead  of  two  cats  of  Kil  -  ken-ny,  There 


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180 
Kate  Louise  Brown 
A  With  swaying  motion  J  =152 


Daisy  Nurses 


Florence  Newell  Barbor 

Composed  for  this  Series 


^M*    *    * 


!81 


f^ 


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~&- 


> 


"Heigh 
soft 


ho," 
and 


while 
slow, 


the 

all 


wind 

in 


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sweeps         low,  The 

a  row,  All 


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333 


wind 
in 


sweeps     low, 
a  row. 


the 
all 


wind 
in 


sweeps        low; 
a  row, 


fcfc 


Sing: 
While 


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(.   J    J 


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"Heigh  ho,"        while  the  wind 

soft  and  slow.  all  in 


sweeps        low; 
a  row, 


Both 
Both 


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cresc.    I 


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nurs .  es         and 
nurs  -  es          and 


^ 


m^=4=4: 


ba   -    bies       are 
ba   -    bies        are 


M      ,     Ti 


TT^ 


nod  -  ding",  — 
nod   .  ding"   — 


just 
just 


-» » 1 — **c 


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SO! 

soT 


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182 

Bertha  Remick 
*     Allegretto  J^=  160 


The  Ragman 


* 


Bertha  Remick 

Composed  for  this  Series 


ii    J     i-    3 


w 


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fun  -   ny       old         cart  Rides  a 

some    say      he's        rich,  And  _ 


fun  -  ny      old 
some   say     he's 


man, 
poor, 


Who  has 
And 


»    i>     J'      Jv 


r    1        I' 


fun  -    ny        old  blink 

some    say       he's  ve 


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eyes, 
wise . 


£ 


We 

But 


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^ 


give     him      old 
I  think    at 


clothes 
least 


And   he 
He     is 


-^— -^ 

gives  us       tin 
kind  — ,       and 


pans, 
good, 


P3e|e 


£ 


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183 


And 

For    he 


S 


^^ 


/ 


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as        he    drives       on he 

smiles    at      me  when —      he 


cries: 
cries: 


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"  Old      rags       and 


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T.  M.  Vol.  1—13 


184 


Carolyn  S.Bailey 
Brightly  J  =  152 


Little  Miss  Tulip 

A  Spring  Lave  Song 


Jessie  L.  Gaynor 

Composed  iur  Ihis  Series 


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1.  Little    Miss     Tu  -  lip        creeps  out  of    her    era  -  die,         Green    is   the  silk      of    her 

2.  Bold  Mister  Rob- in  comes  back  from  the  South- land;       Or  -  ange  and  green   is    his 


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gown 
vest. 


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Bold      Mis-ter    Rob  -  in     has    bought  a      new    long-    coat; 


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Pret-ti  -  est       bon -net  in 
Ah! he    is  jaun-ti  -  ly 


town, 
dressed. 


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Bold  Mis-ter  Rob-  in    is 


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Some  -  bo  -  dy    sees from  her 


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bon-net  .  of         red. 


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185 


The  Happy  Bee 


Nina  B.Hartford 


Nina  B.Hartford 


J  =  120  I 


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TOf 


l."Poor  lit- tie  Bee,"  said  a         But  -  ter- fly,    "You    work  so     hard   all 
2.  "Dear  Butter- fly,     you  are      ve  -  ry    wrong"The    bu  -  sy     Bee    re 


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"I     love  the  sun,   I 


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yel  -  low  wings,    And     nev-er        stop    to  play, 

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Tho'    I  —  have    no 


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hon-  ey     sweet,     And    sing"  my     buzz-ing"        song-." 


^ 


mm 


PART  FIVE 


ACCOMPANIMENTS  FOR  SONGS  IN  BOOK  ONE 


Abbie  Far  well  Brown 
A        Brightly  J  =160 


m  J   I    J    i 


Good  Morning 

(Book  One,  page  5) 


Ernst  Richter 


1       ri 


p~ 


? 


1.  Good         morn-ing     to  you!        Good  morn-ing     to  you!        We're 

2.  Good        morn-ing-     to  you!        Good         morn-ing     to  you!        What 


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sun  -  shi 
make     it 


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all        in  our  plac  -  es       With 

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work      and        in 


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beau  -    ti 


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new 
ful 


day! 
day! 

3^ 


90 


\±>bie  Far  well  Brown 
J  =184 


The  Postman 

(Book  One.p  8) 


i* 


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Folk  Song- 


• 


1.  Post 

2.  Post 


man! 
man! 


Post 
Post 


man! 


fe^ 


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Why      is  he  late       a     -     gain? 

Have      la  let    -    ter,       Sir? 


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Post       -         man!  Post       -        man!       Where    can      he 

Post       -        man!         Post       -        man!         Hur  -  ry        and 


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be? 
see! 


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Here     he      comes 
Why      are       you 


hur  -    ry  -    ing-,  Here     he      comes 

lin    -   ger  -    ing?       What     are      you 


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fin   -    ger  -    ing? 


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Sir! 


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for 


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me! 


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Cheerily 
J  =  168 


Cherries 

(Book  One,p.lO) 


i^m 


191 


W.  Otto  Miessner 

Composed  for  this  Series 
l_ 


1.  "Cher  -  ries      are 

2.  Cher  -  ries      are 


ripe! 
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m 


Cher  -  ries       are 
Cher  -  ries       are 


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Twinkling  Fireflies 

(Book  One,  p.  11) 


.nna  M.  Pratt 

AllegTetto  J  =120 


Alfred  G.  WathaU 

Composed  for  thu  Sena 


the         night, 


Twin    -    klingr 


^3 


like 


the         stars  so         bright; 


Here  and         there, 


POCO  Tit. 


Ring  a  Ring  o'  Roses 

(Book  One,  p.  12) 


Lively  J  =  104 


193 


Old  English  Game 


^^ 


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Ring- -.a- ring-  o'     ro  -  ses,  A   pocket  full  of      po-sies,  One,two,  three,fourAVell  all  tumble  down. 


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Little   Brook 

(Book  One, p.  12) 


Folk  Song- 


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1.  Lit  -  tie 

2.  Lit  -  He 


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J  =  116 
T2T 


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A  Little  Lady 

(Book  One,  p.  13) 


j  i  J   J  'J  ,  j..-.; 

♦       -  «■  — # — >  » — 


Edward  B.  Birgi' 

C/np.sfd   forth  ^   Srnc\ 


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3 


Alice  C.D.Riley 

In  march  time  0  =  96 


The  Parade 

(Book  One,p.l4) 

5 


195 
French  Folk  Song^ 


T'Ui  '?  J  r^J  t  >\t  tm 


Rat  -  a  -  plan,  sol-dier     man!      Bands     a  -  play  -  ing,     Trum-pets  bray  -  ing, 

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Turn  -  te  -    turn , 
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hear    the   drum! 
If       I        can. 


See     the  march  -  ing- 
I      shall      be      a 


col  -  umn  come! 
sol  -  dier    man  . 


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The  Holiday 

(Book  One, p.  15) 


Brightly      4=    160 

H  J      HU     ^.h|  J    J    J    '  1   j 

— *■      n  ~  \       fj  ft       n 


Old  English  Game 


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l.What  shall  we  do  when  we 

2.  We      will      take    our 

3.  We       will     take    our — 

4.  We       will      take    our 

5.  We       will      take    our  — 


all    go    out, 
skipping"  ropes, 
fish-  ing*  rods, 
rol  -  ler    skates, 

bi  -  cy  -  cles, 


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Fish- ing   rods, 
Bol  -  ler    skates", 

Bi  -  cy  -  cles, 


all     go    out? 
skipping-  ropes, 
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rol  -  ler    skates, 

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On  our  hoi  - 

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day, 
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linton  Scollard 

J=  132 
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Whippoorwill 

(BookOr.e.p.  16) 


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Marshall  Bartholomew 

Compoied  /ortbu  Series 

7  


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197 


Virginia  Baker 

Quietly       J  =  8S 
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Dolly's  Lullaby 

(Book  One,  p.  17) 


French  Folk  Song- 


S   'ii'i 


fin 


^■'■3-    +   '■£. 


Go     to    sleep  and     do   not      fear; 
Ba  -  by  birds  are     now   at 


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in   their    nest 


do     not     cry,       "While    I       sing-  your    lul  -  la   -    by ; 
watch   I'll      keep,       Sleep, my   dar  -  ling-  Dol-  ly, 


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198 


Wilhelmina  Seegmilier 

J  =  1»S8 
//  %h-\\        I 


Lady  Bug 

(Book  One.p  18) 


r~r  r  !  ^ 


W.  Otto  Miessner 

Composed  .'or  ibis  Stnci 


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1.  La   -    dy        hug, 

2.  Your      lit    -    tie 


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chil  -  dren       are 


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How      do         you  do? 

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The  typsy  Peddler 


Nellie  Poorman 

Brightly  J- =96 


(Book  One, p. 20) 


199 


French  Folk  Song" 


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1.  Gyp  -  sy      ped-dler,  tell     me, 

2.  Gyp  -  sy      ped-dler,  tell     me, 


pray, "What  do  you    car-ry    a- round  in  your    bas-ket? 
do,  What  I  can     buy  of  your  goods  for  a       pen  -  ny. 


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Pret  -  ty     wares    to    sell     to      -    day,  Rib-bons  and     lac-es  and  handkerchiefs    gay. 
Some-thing:     dain  -  ty,  something-       new,  Bright  colored  beads  or    a     rib-bon    of        blue. 


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104 


n  ^  *  *  J 


The  Mulberry  Bush 


(Book  One.p.  21) 


Old  Eng-lish  Game 


J'p  I  J    ^  J    J' I  J    ^^ 


£ 


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1.  Here  we    go  round  the      Mul-berry  Bush, The    Mul-berry  Bush, The    Mul-berry  Bush; 

2.  This     is    the  way    we      clap  our  hands,  We       clap  our  hands,  We     clap  our  hands; 


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Here  we     go  round  the     Mul-berry  Bush,  So        ear  -  ly     in        the 
This     is     the   way    we      clap    our  hands,  So       ear  -   ly     in        the 


morn 
morn 


jgjir   fr-^-^M 


E 


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ing 
ing. 


SI 


T.  M.  Vol.  I— 14 


3  This  is  the  way  we  wash  our  hands,  etc 

4«.  This  is  the  way  we  brush  our  hair. 

5.  This  is  the  way  we  tie  our  shoes. 

6 .  This  is  the  way  we  run  away. 


2 


Harriet  Fairchild  Bludgrett 

TrunquiUo  0 


A  Surprise 

(Book One. p  24-) 


Friedrich  Heg-ar 

C'.mposed  lor  this  Series 


'-F^? 


L 


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gi=^ 


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1.  A         lit-  tie    drop      of      rain  fell  down  From  cloud-land,  far       and     steep, Up 

2.  And    when     he    wak-ened      up      a- gain,  Now    what  was    his        sur  -  prise To 


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on     the    mea-dows    gras- sy    nest,  And       there     he      fell        a    -    sleep, 
find     he    was         a  vi  -    o   -  let    With       dew-drops  in  his       eyes! 


^fi 


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Margraret  Aliona  Dole 
From  the  Russian 

J  =  100 


Snowflakes 

(Book  One,  p.  41) 


Russian  Folk  Song* 


inp 


M 


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Snowflakes.  snowflakes, 
Dane  -  ing-,  danc  -  ing- 


ev  -  'ry -where,  Gay     as     laugh -ing  sun   -    beams! 

in      the      air;  Turn  -  ing-     in   -    to  tear   -     drops! 


m 


& 


* 


F^=i 


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Sleep,  Little  Treasure 


m 


Quietly  J  =  66 


(Book  One, p. 42) 


213 


Lithuanian  Folk  Song" 


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1.  Sleep,       my 

2.  *  May        the 


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bon   -    ny 

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hov  -  er       ev  -    er 


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near        thee. 


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Sleep         till       the 
Watch        and 


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ward   for 


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ev  -  er   o'er  thee     keep 


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Brings     the 
Fair    -    est 


hap    -    py 

vi    -    sions 


hours      of      pleas    -    ure; 
come        to       cheer      thee; 


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Sleep,       my        lit 


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night      a     -    way.    

treas  -  ure,      sleep; 


Sleep, 
Sleep, 


lit 
lit 


tie 
tie 


*  Second  stanza  does  not  appear  in  Book  One 


treas 
treas 


-» — 
ure, 
ure. 


214 


Mother  Goose 


Bylo,  Baby  Bunting 

(BookOne,p.43) 


W.  Otto  Miessrit  i 

Composed  for  this  S«nes 

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M.Louise  Baum 

J  » 152 


In  Wooden  Shoes 

(Book  One, p.  44) 


Swedish  Folk  Song- 


I 


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1.  Come  join  our  dance  and  swing- to  our  rhyme;  Now    all    advance  and       tap       to  the  time; 

2.  Bob,    then.and  bow  and    curt  -sey  with  me,      Stamping    it  now  with      one,    two,  and  three; 


nn 


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£ 


Margaret  Aliona  Dole 
Quite  fast  J  =  138 


Air  and  Sunlight 

(Book  One,p.62) 


223 

Russian  Folk  Song- 


frvj^n-^u  tt?  ni0m 


O-pen  wide  the  win- dows!      Let  the  wind  come  blow- ing!     Wel-come  in  the  sun  -  light, 

A- 


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Health  and  cheer  be -stow-  ing.     Air    and  sun-ny 


skies Give  us  sparkling     eyes! 


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Anna  M.  Pratt 

Moderately  J  •  =  92 


The  Flowers'  Friends 

(Book  One, p.  63) 


Old  English  Song* 


'u.  J    }' 


-H-T-r^-i1 


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1.  Lit  -  tie  snowf lakes  ligh  -  tij   fall, 

2.  Lit  -  tie  rain-drops    fall-  ing  fast 


Form     a    blan  -  ket         o  -   ver  nil;  They 
Wake  the  flowrs  when  win- ter's  past;  And 


j.    ;±  * 


A 


m 


N^'       N/^I^J^      HJ.J.P      II 


cov  -  er     up      the      sleep-ing^  flowrs  And    keep  them  warm  through  win-  ter  hours, 
lit  -    tie   sun -beams   shine    to  show    The       ba  -  by  buds  'tis        time     to  grow. 


+*rr     r-    i 


P-     p:    H 


224 


Higgledy,  Piggledy 

(Book  Oiie,p.65) 


Kate  Greenaway 

Fust  J.=  92 


Horatio  Parker 


i 


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1 .  Hig  -  £le    -   dY.       Pi§T  -  gte   -   dy, 

2.  Hig  -  gle    -    dy,       Pig  -  gle   -    dy, 


see       how     they     run  I 
how     can      I  tell? 


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Hop -per  -  ty,  Pop -per  -  ty,      hark   to     the    bell!      The 


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rats  and  the  mice  ev  -  en 


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in  -  to     the    sea?      Oh, 
scam -per    a  -  way;     Oh, 


what    is     the  mat  -  ter?  Pray     tell    it     to     me! 
who    can   say  what  may  not         hap -pen  to  -day! 


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Abbie  Farwell  Brown 

J=H4 


The  Boat 

CBookOne.p.66) 


225 


Adolf  Wei  dig- 
composed  (or  thjj  Sencj 


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With   the      wind,  and  the     tide,  O'er  the  danc-ing-  waves  we  glide;        Like  a 


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Anna  M.Pratt 

J. =  88 


My  Pony 

(BookOne,p.67) 


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G.  A .  Grant  -  Schaefer 

Composed  for  this  Scries 

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226 

Clinton  Scollard 

J  =  Hi 


Bee  Song 

(Book  One, p. 69) 


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Nellie  Poorman 

.         .   J  =  152 


Street  Music 

(Book0ne,p.70) 


r->  r  r  r  r  '  r  *  r 


J  «'J|  J  J  J  J I  TeJ 


Folk  Song- 


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1.  The        or- g-an grinder       plays  a   tune,  No        mu-sic    so     en  -   tranc  -    ing-;Tra,  la, 

2.  A        mer  -  ry  waltz  or       two-step  gay  Will      set   thechil-dren     danc    -    ing-; Tra,  la, 

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22 


Alice  C.D.Riley 

Brightly  J  =  104 


The  Maypole  Dance 

(Book  Onp,p.72) 


Swedish  Folk  Dance 


K, 


[Foot 
( Come 

Brave 

Ev 

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M.Louise  Baum 
From  the  Russia 71 

L, K  h 


The  Rooster's  Good  Morning- 

(Book  One,  p.  74) 


Russian  Folk  Song- 


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1  .    Rooster        ev   -    ry 
2.    H-'        is      strut  -ting; 


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proud    -    ly,  Call  -   ing:     to        us  loud     -     ly 


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shout    -    ing",       "Come    and     take    an  out      -      ing-! 


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Clinton  Scollard 

Rather  quickly  J  =  152 


I 


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Dancing-  Raindrops. 

(BookOne,p.75) 


G.  A .  Grant  -  Schaefer 

Composed  for  thjs  Series 


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Have     you  not  watch 'd  the     rain -drops         As     you  went  home  from    school?  They 


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229 


Mistress  Mary 

(Book  One, p. 7 6) 


Mother  Goose 

Slowly  and  Gracefully  J  •  -  72 


Arthur  Whiting- 

Composed  for  this  Series 


dl&miy  ana  irractjuuy  m  •  —  <c  i 


>Mis  -  tress     Ma     -    ry,  \  quite      con  -  tra    -    ry,  How  does  your  g-ar   -   den 


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230 

Kate  Louise  Brown 
J- Mi 


The  Mill  Wheel 

(Book  One, p.  78) 


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Edward  B.Birg-e 

Composed  for  this  Series 


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and        round    g-oes     the  mer 

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if  r   p  r  J^i  r  r  r  J,ir  r  j£E^E 

Sing-,  swing^and  glance.our    voic  -  es    a -chime,  While  wood-en  shoes  are 
Yes,     that    is  how  we're    foot  -  ing-    it    free,  While  wood-en  shoes  are 


tap  -  ping: 
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A     J  =96 


Raindrops 

CBookOne,p.45) 


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Hark!  I       hear  the  ■  ti  -  ny       tap -ping-  Of  the      mer-ry  drops  of         rain;      Pit! 


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1     J    >J 


T.  M.  Vol.  1—15 


>16 


"lorence  C.Fox 

J  =  168 


Valentine  Song 

(Book  One,  p.  46) 


English  Folk  Song- 


Wj  J    J 


1.  "Mis  -  ter  Post-man,  have  you     a  -  ny         Val  -  en -tine     a    -   mong-    so     ma  -  ny 

2.  "Here's  a     dain  -  ty         lit  -tie     son -net;       See,  your  name  is       writ  -  ten      on     it; 


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Esss 


That    you  think  was        sent    to     me?      Post- man,   look    in  your         bag-  and    see! 
"While    in      let-  ters        g-old   and   blue        Are  these  words  that  are     meant  for    you; 

* 


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Val  -  en  -  tine, 
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Val  -  en  -  tiner  Is  there    one  that  you       know     is    mine? 

Val  -  en  -  tine,  Be    my    own    lit  -  tie  val  -  en  -  tine!' 


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From     a   friend  who    is 


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tried  and  true." 


Alice  C.D.Riley 

.       u  J  =  144 


*=* 


^^ 


Will  You  Come  With  Me 

ACTION  SONG 
(Book  One,  p.  48) 


217 


Old  English  Song- 


(Hosts)     1.  If      I    build  you 
(Guests)  2.  Thoyou  build    me 

a 


^ 


r  rp|r  r/^ 


miii 


bowr   of     ro  -  ses,     Garden  walks  all  set  round  with    posies, 
bow'r   of     ro  -  ses,     Garden  walks  all  set  round  with    posies' 

J-       J    J  ,  -ft p _«L-       J   j 


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Will  you  come  and  play     Will  you  come  to  -  day, 
I'll  not  come  to  -  day,         I'll  not  come  and  play, 


s« 


i 


Will  you  come  to  -day  and    play  with  me? 
I'll  not  come  to-day  and    play  with  you . 


9- 


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^PP^ 


If 


t=» 


( Directions) 


(Hosts)  *  3.  Sunny  beach  and  the  tide  outflowing-, 
Cunning  oars  and  a  boat  for  rowing, 
Will  you  come  and  play,  etc . 

(Guests )  4 .  Leave  the  beach  and  the  tide  outflowing, 
Leave  the  oars  and  the  boat  for  rowing, 
I'll  not  come  to-day,  etc . 

(  Hosts)'      5.  Forest  trees  with  their  green  leaves  shading 
Silver  pools,clean  and  cool  for  wading, 
Will  you  come  and  play,  etc . 

(Guests)      6.  Leave  the  trees  with  their  green  leaves  shading; 
Leave  the  pools,  clean  and  cool  for  wading, 
Til  not  come  to-day,  etc. 

(Hosts)       7.  Tip -top  boughs  in  the  wind  a- swinging, 

Nests  may  sway  but  the  birds  keep  singing, 
Will  you.come  and  sing, 
Will  you  come  and  swing,  'v 

Will  you  come  and  sing  and  swing  with  me? 

(Guests)      8.  When  on  tip -top  bough  a- swinging, 

Nests  will  sway  and  the  birds  keep  singing, 

I  will  come  and  sing, 

I  will  come  and  swing, 

I  will  come  and  sing  and  swing  with  you . 

Divide  the  children  evenly  as  Hosts  and  Guests .  Place  them  in  parallel  lines  facing- 
each  other  and  let  the  Hosts  advance  toward  the  Guests  with  a  g-esture  of  invitation 
as  they  sing  When  the  Guests  reply,  let  them  turn  away  with  a  gesture  of  refusal, 
while  the  Hosts  withdraw,  step  by  step  in  time  with  the  music, during-  the  refusal.  At 
the  last,  when  the  invitation  is  accepted  by  the  Guests,  let  each  couple  take  hands,raise 
them  and  U  t  the  whole  company  dance  through  under  the  uplifed  arms  to  the  repeat- 
ed music  i  the  song.  If  desired, this  could  be  followed  by  a  "Swing  Song  "or  a  "See- 
Saw  Song      ith  appropriate  action. 


*  Stanzas  3  to  8  are  in  addition  to  those  which  appear  in  Book  One 


218 


Alice  C.D.Riley 
J  =  160 


Before  and  After  Dark 

(Book  One, p. 50) 


tt ^ 


Laure   Collin 


J  I  ,  J    J  J  i-i-ii^ 


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r 


1.  Pussy  cat,  pus-sy         cat, 

2.  Park  comes  down       o'er   the        town 


By  the        fire     sof  -  tly     sleep -ing-,  Snug-  and 
On  the        roofs  you    g-o      howl  -ing",  Thro  the 


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(Book  One, p. 51) 


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1.  I         saw    a    fair  -  y  air  -  ship    Go     floa- ting- down  the         lane;  ^*-         The 

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3.  And     then,  a -cross  the       mea-dow.   He  steered  his  air-ship,       light,  And 


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J  =  152 


Happy  Thought 

(Book  One,  p  52) 


219 


Old  English  Song- 


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At  Night  When  I  Have  Gone  to  Bed 


Harriet  Fairchild  Blodgrett 

Slowly  J  =  116 


(Book  One,  p.  53) 


A  Slowly 


Paul  Bliss 

Composed  (or  this  Series 

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Old  English  Game 


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4.  Look  'tis  thus  that  the  farmer  Reaps  his  wheat  and  his  barley. 

5.  Shall  I  tell  how  the  farmer  Threshes  wheat,  threshes  barley? 

6.  Look, 'tis  thus  that  the  farmer  Threshes  wheat,threshes  barley. 


Clinton  Scollard 

Rather  fast  J  =104 


The  Eskimo  Hunter 

(Book  One,  p.  56) 


Eskimo  Folk  Song 


^SFFpJ|J    J    N   JjiN   I   N    JJN   j    1 


9 


Funny,  furry      fel   -    low;    Who's  that  a  -   g-o    -   ing-  Through  sleet  and  snow-  ing", 


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2.  Will    you 


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Baby  Life 

(Book  One,  p.  59) 


I 


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Katydid 

(Book  One,  p.  61) 


Virg-inia  Baker 

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Allegretto  J.=  84 


(Book  One, p.  80) 


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1.  Oh, 

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Pauline  Frances  Camp 
Not  fast  J  =  138 


Peek-a-Boo 

(Book  One,p  .  81) 


Horatio  Parker 

Composed  fortius  Series 


-6- 


1.  Moth  -  er    Cro  -  cus  woke  her    babes;    Washed  their    fac   -  es     clean; 

2.  Out     theypoppedin  -  to the      sun;       "Peek  -   a    -   booP'they  cried. 


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Tied  their  caps     be  -  neath  their  chins  With  bows     of     rib  -  bon    green 
Gave     old  Win  -  ter      such      a    fright    He     ran       a  -  way      to      hide!  . 


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1.  (Take      a        las  -  sie's  win-  some  face, 
(Write     a     verse      o'  po   -     e    -  sy: 

2.  (Quick!  The    post- man's  go   -    ing  by! 
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(Book  One, p.  84) 


Minnie  Leona  Upton 

J— 104 


233 


Marshall  Bartholomew 

Composed  for  thii  Series 


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234 


Autumn  Leaves 

(Book  One.  p.  86) 
Nina  B.Hartford 

Slvwly  and  Gracefully  J  =  160 


Nina  B.Hartford 


Abbie  Far  well  Brown 

J  — 132 
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The  River 

(Book  One,  p.  87) 


S 


235 


Adolf  Weidig- 

Composed  for  this  Series 


1.  O     -     ver       the  peb 

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3.  On        with      a  leap 


bles  fall 

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236 

Abbie  Far  we  11  Brown 

Quietly  J  =126 


The  Oriole's  Nest 

(Book  One,  p.  90) 


Norweg-ian  Game 


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1.  The        o  -  ri  -  ole,       gold,     is      at        home      at         rest,       Swing-      -       ing, 

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3.  The      shadows  grow  deep  round  the       wee    brown     nest,      Creep      -       ing 


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all,  While     lit  -  tie        birds     are      a     -     play      -      ing. 

west,  While      lit  -  tie        birds     are     a    -     sleep     -     ing . 


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Brightly    J-  =92 


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view  the  land  . 


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Four  Boys 

(Book  One,  p.  92) 


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Now  the  sun  is  sink-ing    In  theg-olden  west ;  Birds  and  bees  and  children  All  have  goneto  rest; 


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•"-*■  i|  Uh.J-ri  ii  rTTi^frnrrf ,  iffftif ,  Eftf^ 


38 


London  Bridge 

(Book  One,  p.  95) 


Old  Eng-lish  Game 


Brightly  J- = 


HVi  H  Mi1  f1'' J  ,tM|f'  ',' 


1.    Lon-  don  bridge  is  bro  -  ken  down,        Dance       o  -  ver    my  La  -  dye    Lea! 


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2.  How  shall  we  build  it  up  again?  Dance  over  my  Ladye  Lea,  etc. 

3.  Silver  and  gold  will  be  stol'n  away.  etc. 

4.  Iron  and  steel  will  bend  and  bow; 

5.  Wood  and  clay  will  wash  away. 

6.  Build  it  up  with  stone  so  strong-. 


Soap  Bubbles 


Mabel  L.  Harris 

Animato  J.  =96 


(Book  One, p.  97) 


i 

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Abbie  Farwell  Brown 
Sadly   J  =96 


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Lingering  Leaves 

(Book  One,  p.  98) 


Adolf  Weidig- 

Composed  for  this  Series 


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1.  Still    there   lin  -  ger         two     or    three         Yel  -  low  leaves  up     -     on      the     tree. 

2.  All    their  broth  -  er        leaves  have  flown ;    They    are     left    here       tjuite    a   -    lone, 
3-  Poor    old    leaves,  you        can  -  not    stay!      Winds  will  sweep  you         all      a    -   way. 

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How  they  qui v  -  er,       Shake  and  shiv  -  er        Fear-  ing    au  -  tumn's      cru  -  el    -  ty! 
Fee-bly    cling- -  ing-,     Wild  -  ly  swing  -ing-,  Rough  -ly      now    by       breez-es     blown, 
Down-ward  whirl-ing,     Mad  -  ly  twirl  -  ing,      Till     you  sleep  and    dream    of      May. 


^MiiiiiA&irfAfci 


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40 


Skating  Song 

(Book  One,  p.  98) 


Anna  M.Pratt 

Briskly  J  =  126 

z 


241 


On  Christmas  Day  in  the  Morning 


(Book  One, p.  99) 


Alice  C.D.Riley 

.    J  =  160 

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Edward  B.Birg-e 

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(  Book  One,  p    101) 


an  Bassett 

'  -  132 


Adolf  Weidig- 

Composed  for  this  Series 


1 .  Humming-   bird     in 

2.  Humming-    bird,    so 


air    -  y      flight, 
light    and    g-ay, 


Flash  -  ing     in       the 
Like     a        liv  -   ing 


sun   -    shine; 
sun    -    beam, 


Ligh  -  Uy    dip  -  ping. 
Swif  -  tly   glanc  -  ing 


Hon-ey    sip  -  pin^     From  the    ftow-e«        bright 
Ev-  er    danc-ing;    Then  you   dart     a     -      way. 


^Maxg-aret  E.Sangrster 
Allegro  #  =  176 


Mud    Pies 

(Book  One,  p.  102) 


Marshall  Bartholomew 

Composed  (or  I  his  series 


Sweetened  with       sug     ar 


and        sprinkled    with         spice, 


Ap      -       P^ 


turn  -  o   -  vers 


real  •  ly      are  nice ; 


But        make  -  be  -  lieve       pies     are      a 


Abbie  Farwell  Brown 
Briskly   J=  U6 


Rain 

(Book  One,  p.  103) 


243 

Folk  Song- 


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rain, 
rain, 

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rain! 
rain! 


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Who     has       bid      you 


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come 


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a 


pane, 
gain? 


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J  =  144 


The  Friendly  Star 

(Book  One,  p.  104) 


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rae; 
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XL 


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found 
love 


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me? 


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Vlother  Goose 

J.  =  84 


Hickory,  Dickory  Dock 

(Book  One,  p.  104) 


English  Folk  Song- 


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Virg-inia  Baker 

Moderately  J-  =  84 


Teddy  Bear 

(Book  One,  p. 109) 


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Composed  for  this  Series 


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Clinton  Scollard 

J  =  138 

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Marshall  Bartholomew 

Composed  for  this  Series 
5 


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Horatio  Barker 

Composed  for  this  Series 


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T.  M.  Vol.  1—17 


248 


Eva  Rowland 

Allegretto  con  moto  J  •  =  8 


The  Gingerbread  Man 

(Book  One,  p.  113) 


Maurice  Mo»zkowski 

Composed  for  this  Series 


ftifl-  J     J  J     *'  ■  J'  ,'■  ''  f  'f  HH'  r    h  ,h  J 


1.  Sing-       hump  -  ty  dump  -  ty,       dick-er-  y    dan!    Sing:     hey,  and  sing-  ho,  for  the 
eyes       are   cur  -   rants    shi-ning-  and  black; He's  baked  in     a      pan.ly-ing- 


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flat    on    his    back;    He       comes  from  the   ov  -  en    so  glos-sy  and  brown,  He's  the 


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He's  the     lov  -  li  -  est 


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1*11  Tell  You  a  Story 


(Book  One,  p.  114) 


Mother  Goose 

A  Lively  J  =  81 


249 


Arthur  Whitings 

Composed  for  llui  Series 


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tell  you  an-oth-er     a    -    bout       her  brother;  And      now     my  sto    -    ry's      done. 


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William  Shakespeare 

Simply  J  •  =  72 

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Saint  Valentine's  Day 

(Book  One,  p.  114) 


Old  English  Song- 


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I  —    a   maid      at     your   win-dow,    To         be your  Val-en      -      tine, 


250 

Clinton  Scollard 
J  •=  60 


Last  Night 

(Book  One,  p.  115) 


■'■'■  ii""' i J  .in  hi   i^i  i  i 


Marshall  Bartholomew 

Composed  for  llm  Series 


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Kate  Forman 
»  With  spiritjmt  not  too  fast  J  =*  84 


The  Birds' Breakfast 

(Book  One,  p.  115) 


James  H.  Rogers 

Composed  for  this  Series 


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George  Cooper 


Baby  land 

(Book  One, p.  116) 


ifcrf-Trrnr-irl    >    I    I   'l  |i    H 


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1 .  How  ma  -  ny  miles  to 

2.  What  can  you  see  in 

3.  What  do  they   do  in 

4.  What  do  they  say  in 


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The  Elves  and  the  Shoemaker 


Florence  C.  Fox 

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Kate  Forman  . 

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1.  Oh,       who    will    march  with   me; And  my 

2.  Oh        march   and   work,    a   -    way, As  we 

3.  Oh,       who    will    work   with    me In  the 


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Strange  Lands 

(Book  One,p.  120) 


259 


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Lullaby 

Christina  Rossett  i  (Rook  One,  p .  122) 

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A  Carriage  to  Ride  In 

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The  Recipe 

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Mary  Turner  Salter 

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0  Christmas  Tree 

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er  fear!    Glad  days  will  soon  be  here,          All  that  toy      heart      will     hold. 


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Wah-wah-tay-see 

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#  =  132    -*    ±^[ 


Old  Chang, the  Crab 

t-m.         -    (Boo! 


68 

,   (Book  One,  p.  127) 
torn  Chinese  Mother  Goose  Rhymes  ^ 


W.  Otto  Miossner 

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Has 


■'•' ;   r    r    r 


^j^j'jjj 


Dora  H.  Stockman 


The  Pink  Pig 

(Book  One,  p.128) 


J  =144 


W    V 


Marshall  Bartholomew 

Composed  fcr  this  Series 


t^ ;  J  i  r  u- 


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Pig'-gy^ig'gy,  pig-gy^ig-,Twistyour  tail;  Piggy  wiggy, curl  it     up     On    a    rail. 


IS 


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You're  so  pink  and  pret-ty  now,  I       wonder, whenyou're  big,  If       you  will  wallow    in  the  mud  Like 

a*  r  f  f  f-^r  f  'f r  i'f  ^  f  >r  i 


269 


eresc.  9  y 

^^TN^^t  I'  *  1;  M  u  |  f  I'iTTHI 


^ 


a  -  ny  oth  -  er    pig-gy  wig-  gy,   pig-*  gy  wig-  gy,  wig;  Like        a  -  ny  oth  -  er    pig ! 


f      f     f  Hi 


Kate  Forman 

Grayty  J -  =  92 


The  Squirrel  in  the  Snow 

(Book  One,  p.  129) 


Jessie  L.Gaynof 

Composed  for  this  Series 


toj'U-J'  JJ,pg 


ff=* 


:i 


ni'LfM 


1.  A       squirrel    a- woke  with  the       first  day -light;  He        found      the  world        all 

2.  He      ran    to    his  home  in     the       hoi  -  low  tree;    He       brought     his    break  -  fast 


'  r  *p  r  hJ'-^Jt  I  ;    *  ^  i  p-  g  P  r    r.  1 


soft     and  white;     What  did  he    do? 
out,    you-  see;         How   do   I     know? 


J 


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He    frisked  in    the  snow-  drifts 
His      dear     lit- tie   foot -prints 


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just  like    you,        So  ear    -     ly     there      in      the  morn       -         ing. 

tracked       the    snow     With  nut  -  shells  there      in      the  morn       -        ing. 


ifeNE 


270 


Clinton  Scollard 

J  =  76 


Happy  New  Year 

(Book  One,  p.129) 


French  Folk  Song 


"J   J   i  I  Mil     V 


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1.  Hark!      Hark!        Hark,  thro' the    dark 

2.  Hear!       Hear!        Hear,    far  and   near, 


Sounds  are  steal  -  ing,  Bells   are  peal  -  irig! 
Chimes  are  ring- -ing-,  Bells   are  fling-  ing 


i    i  A  i  J 


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Swing    as   they  ring 
Cheer  thro'  the    year; 


Swing!       Swing! 
Cheer,        Cheer, 


New  Year  greetings      un  -  to     all! 
Hap  -  py  New  Year     un-  to     all! 


m 


crif  r 


r^j  rj  i  [.,; 


Our  Friends  the  Shadows 


Alice  CD. Riley 
Quietly  J  =  138 


M 


(Book  One,p.l30) 


French  Folk  Song- 

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1.  When    at     eve    the 

2.  "When    I       go    to 


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bed    at    night      Then        I 


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rest; 

tiy. 


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Laurence  Alma-Tadema 

J  =80 


*i  i   i  I  rj 


Dance,  Dance  Baby 

(Book  One,  p.  130) 


k 


271 


Horatio  Parker 

Composed  for  this  Series 


J',    -h    h 


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172 

L  Miller 

Lively  J  -  152 


Wee  Willie  Winkie 

(Book  One, p.  131) 


Arthur  Whitings 

Composed  for  this  Series 


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Tap-ping-  at   the  win-dow,     cry-ing  at  the  lock,  "Are  the      babes    in  their  beds,  for  it's 


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ten      o'    -     clock?" 

a. 

Q  I      ft       I 


eorg-e  Reiter  Brill 

Quietly  J-  -  60 
P 


Benediction 

(Book  One, p.  132) 


Mary  Turner  Salter 

Composed  for  this  Series 


§ 


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fef^ 


1.  Good        night,  Sleep         tight,  Dream     a-  way       thy  troub-les.  . 

2.  Good         night,  Star     -     bright,  Rest        ye   from       thy    sor-row. 


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Good       night,         Dream       light,  Un    -    con-cerned  as      bub-bles. 

Good       night,         Wee  mite,  Wake     ye    on      the    rcor-  row. 


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Clifton  Bingham 

A  Brightly  J  =152 


Making  the  Hay 

(Book  One,p.  132) 


Bruno  Huhn 

Composes  far  ihis  Series 


^W 


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1  i  i 


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1.  Three  lit  -  tie  peo    -    pie 

2. Three  lit  -   ile  peo    -     pie, 


Out  .in       the 
Oh,     how    they 


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keep  Bur  -    y    -   ing- 


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Work -ing    so        mer-*ri  -  ly        In      the  bright 
But    if      the       far-mer  boys    All    were  to 


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hay  -  mak  -  ers 


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Merrily  J. =  84 


Winter  Roses 

(Book  One,  p.  133) 


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Take   a    deep  snowdrift  and     three  lit  -  tie  boys, 


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The  Caterpillar  and  the  Bee 


Bertha  Remick 

Allegretto  ma  non  troppo  J  =  108 


(Book  One,  p.  134) 


275 


Bertha  Remick 

Composed  (or  this  Scries 


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1.  Said  the       stri-ped  cat  -  er  -  pil  -lar    to    the  black  andyel-low     bee,     "Our 
stri-ped  cat-  er  -  pil -lar  said  the  black  arid  yel-  low     bee,       "In 


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col  -    ors    are      al   -    most     the  same,   And        yet     I         do       not  see  When 

deed    our    col  -  ors-        are      the  same,  You        look    a       lot      like  me.  If 


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both    our  coats  are  made    of  fuzz,  You    are  the   on  -  ly       one    to  buzz!  To       bzzzz,  to 

you'll  gro w  wings  as    well   as  fuzz,  So    you  can  fly,  why  thenyoullbuzz!You'll    bzzzz,        you'll 


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ary  Bailey 
Fast  J  =  160 


hzr-r^ 


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A  Frown  and  a  Smile 

(Book  One,  p.135) 


k=i 


mm 


W.  Otto  Miessner 

Composed  fur  this  .Srne» 


:^T=Z 


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J-- 


277 


Maud  Wilder  Goodwin 
From  the  German 

J  =  88 


A  Riddle 

(Book  One,p.l.35) 


i 


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German  Folk  Song- 


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stone, 
wood; 


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stands      In        the 


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cloak     of       pur  -  pie  hue 

wears     up  -   on        his  head 


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queer       black 


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Tell       me  now   if 


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cloak        Stand -ing-  all  a  -         lone, 

cloak  In        the  deep         dark  wood. 


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*  Answer,  A  Mushroom 


278 


Alice  C.D.Riley 

Andantino   J  =80 


The  Lonely  Wind 

(BookOne,p.l;*6) 


Joseph  RheinbergBr 


<^e#ee4e^ 


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1.  Oft    whci)    night    is 

2.  South     the    birds     go 
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fly 
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fall  ing-, 

hy        .       ing; 

sleep     -       ing-, 


Mis  -  ter  Wind  g-oes        call 
Mis  -  ter  Wind  keeps       sigh 
Mourn  -  ful  -  ly     he's         weep 


ing, 
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Call 

Whith 

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low. 

blow? 

low. 


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Friends    of  bloom  and       feath     -      er 
While     the    rain    is  fall       -       ing 


Com  -  fort  -  less  and 
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Hear    him  sof-  tly 


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The  Firefly 

(BookOne,p.l36) 
From  Chinese  Mother  Goose  Rhymes 

Vivace  J  =  132 


279 


Jessie  L.Gaynor 

Composed  for  this  Series 


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Fire        -       fly,  fire       -     fly,  Come  from   the     hill; 


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T.  M.  Vol.  1-19 


80 


rom  The  Youth's  Companion 


Hidden  Treasures 

(Book  One, p.  137) 


2=^ 


Moderate  grazioso  J -=66 


James  H.  Rog-ers 

Composed  Ur  tb;j  Scries 


^^ 


m 


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jdb, 


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Lit  -  tie  peo  -  ple> 
Do  you  know  what 
Lit    -   tie     peo     -     plei 


do     you  know 
se  -  crets  deep 
tie     peo     -     ple»        do     you  know 


*HK 


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What  is  un  -  der-neathtne  snow? 
All  the  woods  of  win  -  ter  keep? 
Feb  -  ru  -  ar         y      soon  will    go  ? 


m 


Flow  -  ers  pink     and     blue    and  white; 

Ah,      the    dar  -  ling-       lit  -  He    thing's 

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Crim  -  son    tu    -    lips        all       a -glow 
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M: 


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In  their  roots  are       fol  -  ded  tight,. 
Fern  leaves curl'd  in  ti   -  ny  rings,. 

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Till  the  mer  -  ry  south  winds  blow. 
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Not  fast  J  =  144 
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The  Robin 

(Book  One, p.  138) 


281 


Horatio  Parker 

Composed  for  this  Scries 

1 


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GLOSSAKY    OF   ITALIAN  MUSICAL  TERMS 

With  their  English  Equivalents 

A  tempo.    In  time. 

Accelerando,    accel.    Accelerating  the  tempo. 

Allegretto.    Diminutive  of  allegro.    With  animation,  but  not  so 

fast  as  allegro. 
Allegretto  grazioso.    Somewhat  animatedly,  gracefully. 
Allegro.    Joyously,  gayly,  cheerfully. 
Allegro  moderato.    Moderately  fast. 
Andante.    Literally,  to  walk.    A  leisurely  tempo. 
Andante  con  moto.    Rather  slowly,  but  with  animation. 
Andantino.    Diminutive  of  andante.    Strictly  speaking,  faster  than 
andante,  although  sometimes  employed  to  indicate  a  slower 
movement. 
Animato.     Animatedly. 
Ben  moderato.    Very  moderately. 
Colla  voce.    With  the  voice. 
Con  moto.    With  motion,  animatedly. 
Crescendo,  cres.,  cresc.    Increasing  in  loudness. 
Da  capo,  D.  C.    Repeat  from  the  beginning. 
Diminuendo,  dim.    Diminishing  in  loudness. 
E.    And.    Before  a  vowel,  ed.  . 

Espressivo,  espress.    With  expression. 
Fine.     The  end. 
Forte,  /.     Loud. 

Fortissimo,  //.     Superlative  of  forte,  very  loud. 
Giocoso.     Jocosely. 
Legato.     Sustained,  smoothly. 
Leggiero,  legg.     Lightly,  nimbly. 
Lento.     Slowly. 

Ma  non  troppo.      But  not  too  much. 
Marcato,  marc.      Marked,  accentuated. 
Mezzo  forte,  mf.     Half  loud. 
Misterioso.      Mysteriously. 
Moderato.     Moderately. 
Molto.      Much. 

Pianissimo,  pp.     Superlative  of  piano.     Very  softly. 
Piano,  p.     Softly. 
Piu  lento.      More  slowly. 
Poco.      Somewhat,  a  little. 
Poco  a  poco.     Little  by  little. 
Presto.      Very  quickly. 

Rallentando,  rail.      Gradually  becoming  slower. 
Ritardando,  ritard.,  rit.     Gradually  becoming  slower. 
Ritenuto,  riten.     Held  back. 
Sforzando,  sfz.,  sf.     Accented. 
Simile.     Similarly. 
Staccato,  stacc.     Detached. 

Stringendo,  string.     Hastening  or  crowding  the  tempo. 
Tempo.      Rate  of  speed. 
Tenuto,  ten.      Held,  sustained. 
Tranquillo.      Tranquilly. 
Vivace.     Vivaciously. 


286 


INDEX   OF   SONGS 


Title  Author  or  Source  Composer  or  Source 

Ace  of  Diamonds,  The Danish  Folk  Dance 

Afternoon  Tea Kate  Forman Horatio  Parker  . 

Air  and  Sunlight    ....    Margaret  Aliona  Dole Russian  Folk  Song 

Airship,  The Virginia  Baker Adolf  Weidig  .    .    . 

America Samuel  F.  Smith Henry  Carey  . 

*At   Night    When    I    Have 

Gone  to  Bed Harriet  Fairchild  Blodgett Paul  Bliss    .... 

At  the  Dance Abbie  Farwell  Brown Finnish  Melody 

Autumn  Leaves      ....   Nina  B.  Hartford Nina  B.  Hartford 


T.  M.i  Bk.l 

Page  Page 

124 
139 

223  62 

218  51 

285  142 


219 
126 
234 


53 
71 
86 


*Baby  Life Charles  Keeler Adolf  Weidig 

♦Baby  Sermon,  A    .    .    .    .   George  Macdonald Florence  Newell  Barbour 

*Babyland George  Cooper Gabriel  Pierne    .    .    . 

Bedtime From  The  Youth's  Companion      .    .    .   Osbourne  McConathy 

Bee  Song Clinton  Scollard Folk   Song     .... 

Before  and  After  Dark      .   Alice  C.  D.  Riley Laure  Collin    ...''. 

♦Benediction George  Reiter  Brill Mary  Turner  Salter  . 

Betty  and  Billy May  Morgan       J.  B.  T.  Weckerlin 

♦Birds'  Breakfast,  The    .    .    Kate  Forman      James  H.  Rogers 

Bleking Swedish  Folk  Dance 

♦Boat,  The Abbie  Farwell  Brown Adolf  Weidig 

♦Bubbles    ........   Clinton  Scollard Alfred  G.  Wathall      . 

Busy  Folks Polk   Song     .... 

♦Bylo,  Baby  Bunting  .    .    .   Mother  Goose W.  Otto  Miessner  .   . 


221 

254 
252 
1 58 
226 
218 

979 


203 
250 
121 
225 
189 
221 
214 


59 
118 
116 

69 
50 

132 
26 

115 

6g 
9 

57 


^Carriage  to  Ride  In,  A Carl  Reinecke     .    .    . 

Caterpillar    and    the   Bee, 

The Bertha  Remick Bertha  Remick  .    .    . 

*Cats  of  Kilkenny,  The      .   Mother  Goose W.  Otto  Miessner 

Cherries W.  Otto  Miessner 

Children's  Polka Folk   Song     .     .     . 

Chimes  of  Dunkirk,  The Scotch  Folk  Dance    . 

Choo-choo-choo      ....    Otis  M.  Carrington Otis  M.  Carrington 

Chrys  Anthemum       .    .    .   Frank  L.  Laird W.  Otto  Miessner  . 

*Circus,  The Alice  C.  D.  Riley Horatio  Parker  .    .    . 

Clap  Dance Swedish  Folk  Dance 

*Clock,  The Alice  V.  L.  Carrick Ermanno  Wolf-Ferrari 

Clown,  The Nellie  Poorman       French  Folk  Song 

♦Creep,  Mouse,  Creep     .    .   Old  English  Rhyme W.  Otto  Miessner 


263 

275 
179 
191 
120 
119 
132 
155 
208 
125 
255 
206 
264 


123 

134 

10 

83 

33 

118 
30 

124 


♦Daisy  Nurses 

♦Dance,  Dance  Baby      .    . 

Dance  of  Greeting  .  .  . 
♦Dancing  Raindrops    .    .    . 

♦Dancing  Song 

♦Dandelion 

♦Dandelion,  Yellow  as  Gold 

Dolly's  Lullaby 


Kate  Louise  Brown Florence  Newell  Barbour 

Laurence  Alma-Tadema Horatio  Parker 

Danish  Folk  Dance    .    . 

Clinton  Scollard G.  A.  Grant-Schaefer    . 

Alice  C.  D.  Riley W.  Otto  Miessner  .    .    . 

Abbie  Farwell  Brown Adolf  Weidig 

From  The  American  Primary  Teacher  .  Frank  van  der  Stucken'    , 

Virginia  Baker French  Folk  Song      .    . 


180 
271 
119 
228 
127 
208 
147 
197 


130 

75 
93 
34 

17' 


Eatings Louise  Ayres  Garnett Louise  Ayres  Garnett    . 

*Elves  and  the  Shoemaker,  ^ 

The Florence  C.  Fox W.  Otto  Miessner      .    . 

Eskimo  Hunter,  The     .    .   Clinton  Scollard Eskimo  Folk  Song 

♦Evening  Lights Clinton  Scollard Marshall  Bartholomew 


161 


♦False  Alarm 

armer,  The 

Farmyard  Song  .... 
♦February  Song,  A  ... 
♦Fido  and  His  Master     .    . 

♦Fireflv,  The 

♦Five  Toes,  The 

Flowers'  Friends,  The  .  . 
♦Four  Boys 

Friendly  Star,  The     .    .    . 

Frightened  Pumpkin,  The 

♦Frosting 

♦Frown  and  a  Smile,  A  .    . 


Florence  C.  Fox Marshall  Bartholomew 

Old  English  Game 

Edvard  Grieg      .    . 

Louise  Ayres  Garnett Louise  Ayres  Garnett 

Anna  G.  Whitmore Edward  B.  Birge 

From  Chinese  Mother  Goose  Rhymes   .   Jessie  L.  Gayricr 
From  Chinese  Mother  Goose  Rhymes   .   Adolf  Weidig 

Anna  M.  Pratt Old  English  Song 

Mary  Mapes  Dodge      Mildred  J.  Hill  . 

Kate  Forman      Charles  L.  Minturn 

Virginia  Baker Scotch  Folk  Dance 

Wilhelmina  Seegmiller      W.  Otto  Miessner 

Mary  Bailey W.  Otto  Miessner 


1 "  T.  M."  refers  to  the  Teacher's  Manual,  "  Bk.  I "  to  Book  One. 
287 


252 

116 

22(1 

56 

207 

32 

212 

40 

220 

55 

283 

140 

140 

188 

7 

279 

136 

260 

120 

223 

63 

237 

92" 

244 

104 

119 

83 

137 

276 

135 

288 


INDEX   OF  SONGS 


Title  Author  or  Source  Composer  or  Source 

♦Garden  Song       Laura  E.  Richards Alfred  G.  Wat hall      . 

rbread  Man,  The     .    I-  i  Rowland Maurice  Moszkowslri 

•Goblin,  The Florence  C.  Fox Bessie  M.  \\  hitelcy   . 

Good  Morning Abbie  Farwell  Brown Ernst  Richter     .    .    . 

*Good-by  Song,  A inn  Underhill W.  Otto  Miessner  .    . 

♦Grasshopper's  Ball,  The   .    Kate  Louise  Brown Adolf  \\cidig      .    .    . 

[ouse,  The.    .    .   Alice  C.  D.  Riley Josephine  R.  de  Elias 

Swedish  Singing  Game 

Gypsj   Peddler,  The      .    .   N.-llie  Poorman French  Folk  Song      . 


*Hall  Clock,  The      .    .    .    . 

Happy  Bee,  The     .    .    .    . 

Happy  New  \  ear      .    .    . 

Happy  Thought     .    .    .    . 

Hickory,  Dickory  Dock    . 

•Hidden  Treasures  .    .    .    • 

" -lliiTL'Irdy.  Piggledy    .    .    . 

1 1« iuday,  The      

Hones  Bee      

♦How  Many  Days  has  my 

Baby  to  Play      .    .    .    . 

♦Humming  Bird 


Carolvn  S.  Bailev      William  E.  Haesche 

Nina  B.  Hartford Nina  B.  Hartford  . 

Clinton  Scollard French  Folk  Song 

Robert  Louis  Stevenson Old  English  Song  . 

Mother  Goose     ..." English  Folk  Song 

From  '/'/"    Youth' 8  Companion     .    .    .  James  H.  Rogers    . 

Kate  Greenaway Horatio  Parker  .    . 

Old  English  Game 

Virginia  Baker Folk  Song     .     .     . 

Mother  Goose Arthur  Whiting      . 

Jean  Bassett Adolf  Weidig      .    . 


I  See  You Swedish  Singing  Game 


♦Icicles  and  Bicycles 

♦If 

♦1  11  Tell  You  a  Story 

In  Wooden  Shoes  .    . 

Indian  Song    .    .    .    • 


Anna  M.  Pratt Horatio  Parker 

Lee  Burns Horatio  Parker  .    . 

Mother  Goose Arthur  Whiting 

M.  Louise  Baum Swedish  Folk  Song 

M.  Edith  Reynolds M.  Edith  Reynolds 


T.  M. 

Bk.  I 

Page 

Page 

L43 

248 

113 

169 

L87 

5 

l.SS 

6 

152 

146 

123 

199 

20 

134 

185 

270 

129 

219 

52 

244 

104 

280 

137 

224 

65 

195 

15 

245 

105 

130 

242 

101 

122 

165 

168 

249 

114 

214 

44 

136 

Jolly  Holly  Farm,  The      .   Louise  Ayres  Garnett Louise  Ayres  Garnett 


166 


Katydid Virginia  Baker Bohemian  Folk  Song 

♦Kind  Old  Winter   ....   Ann  Underbill W.  Otto  Miessner 

♦King  Baby       Laurence  Alma-Tadema Horatio  Parker  .    .    . 

*-*Kittens Anna  M.  Pratt Adolf  Weidig  .... 

Kris  Kringle's  Song  .    .    .  Alice  C.  D.  Riley Catharina  van  Rennes 


♦Lady  Bug    

♦Lady  Moon 

Lassies'  Dance 

♦Last  Night       

♦Lingering  Leaves    .... 

Little  Brook 

Little  Huntsman,  The  .  . 
♦Little  Lady,  A 

Little     Miss     Patty     and 

Master  Paul 

♦Little  Miss  Tulip  .  .  .  . 
-♦Little  Robin  Redbreast     . 

Little  Seeds,  The    .     .     .     . 

Little  Sister's  Lullaby  .    . 

London  Bridge 

Lonely  Wind,  The      .    .    . 

Lottie  is  Dead 

♦Lullaby 


Wilhelmina  Seegmiller       W.  Otto  Miessner 

Lord  Houghton W.  Otto  Miessner 

Swedish  Folk  Dance 

Clinton  Scollard Marshall  Bartholomew 

Abbie  Farwell  Brown Adolf  Weidig       .    . 

Kate  Forman      Folk   Song-     .     .     . 

From  the  French French  Folk  Song 

Pauline  Frances  Camp Edward  B.  Birge    . 

Kate  Greenaway Horatio  Parker  .    . 

Carolyn  S.  Bailey Jessie  L.  Gaynor    . 

Mother  Goose W.  Otto  Miessner 

Alice  CD.  Riley English  Folk  Song 

Kate  Forman      Folk   Song     .     .     . 

, Old  English  Game 

Alice  CD.  Riley Joseph  Rheinberger 

Swedish  Folk  Dance 

Christina  Rossetti      Adam  Geibel  .    .    . 


♦Making  the  Hay  .  . 
♦Man  in  the  Moon,  The 
♦Mathematics  .... 
Mavpole  Dance,  The 
♦Mill  Wheel,  The  .  . 
♦Miss  Rainy  Day  .  . 
♦Mistress  Mary 


Clifton  Bingham Bruno  Huhn    .    .    . 

Virginia  Baker Bessie  M.  Whiteley   . 

Thomas  Tapper Horatio  Parker  .    .    . 

Alice  CD.  Riley Swedish  Folk  Dance 

Kate  Louise  Brown Edward  B.  Birge    .    . 

Pauline  Frances  Camp W.  Otto  Miessner 

Mother  Goose Arthur  Whiting      .    . 

Mountain  March Norwegian  Folk  Dance 

♦Mud  Pies Margaret  E.  Sangster Marshall  Bartholomew 

Mulberry  Bush,  The Old  English  Game      .    . 

My  Beautiful  Doll     .    .    .   Julia  W.  Bingham      .    .  ....  Josephine  R.  de  Elias 

♦My  Pony Anna  M.  Pratt G.  A.  Grant-Schaefer 

My  Shadow' Virginia  Baker English  Folk  Song     . 


♦Naughty  Tulip,  The      . 

♦New  Soldiers,  The      .    . 

Now  the  Sun  is  Sinking 


Abbie  Farwell  Brown Horatio  Parker  . 

Kate  Forman Edward  B.  Birge 

French  Folk  Song 


222 

61 

209 

35 

247 

112 

211 

39 

160 

198 

18 

210 

37 

120 

250 

115 

239 

98 

193 

12 

210 

38 

194 

13 

145 

184 

176 

133 

206 

31 

238 

95 

278 

136 

119 

262 

122 

273 

132 

131 

149 

227 

72 

230 

78 

172 

229 

76 

123 

242 

102 

199 

21 

138 

225 

67 

245 

106 

178 

254 

117 

237 

94 

Title 

O  Christmas  Tree      .    .    . 

*Oh,  What  a  Sweet  Little 

White  Mouse      .    .    .    . 

Oats  and  Beans      .... 

*01d  Chang,  the  Crab     .    . 

*On  Christmas  Day  in  the 

Morning       

*One  Misty,  Moisty  Morn- 
ing     

Oriole's  Nest,  The      .    .    . 
Our  Friends  the  Shadows 


INDEX   OF  SONGS 

Author  or  Source  Composer  or  Source 

Nina  B.  Hartford Nina  B.  Hartford  .  . 

Mother  Goose Adolf  Weidig       .    .  . 

English  Rhyme       Old  English  Game  . 

From  Chinese  Mother  Goose  Rhymes   .   W.  Otto  Miessner 

Alice  C.  D.  Riley Edward   B.  Birge  .  . 

Mother  Goose Arthur  Whiting      .  . 

Abbie  Farwell  Brown Norwegian  Game  .  . 

Alice  CD.  Riley French  Folk  Song  . 


T.  M. 

Page 

265 
204 

268 
241 


289 

Bk.I 
Page 

125 

28 
91 

127 

99 


154 

230         90 

270       130 


Parade,  The Alice  C.  D.  Riley French  Folk  Song      .    . 

*Peek-a-Boo Pauline  Frances  Camp Horatio  Parker  .    .    .    . 

^fcPink  Pig,  The Dora  H.  Stockman Marshall  Bartholomew 

*Playing  Soldier Nellie  Poorman       Nellie  Poorman       .    .    . 

Polly's  Bonnet From  the  French French  Folk  Song      .    . 

i/"  Postman,  The Abbie  Farwell  Brown Folk   Song 

Prince  Finikin Kate  Greenaway Horatio  Parker  .    .    .    . 

♦Pussy  Willows,  The  .    .    .  Alice  CD.  Riley Adolf  Weidig       .    .    .    . 


195 
232 
2GS 
209 
189 
190 
141 
266 


14 

81 

128 

36 

7 


126 


*Ragman,  The 

Rain 

Raindrops 

*Recipe,  The 

Recipe  for  a  Valentine,  A  . 

Riddle,  A 

*Ride  a  Cock  Horse    .    .    . 

Ring  a  Ring  o'  Roses    .    . 

*River,  The 

♦Robin,  The 

*Rock-a-bye,  Hush-a-bye, 
Little  Papoose    .... 

Rooster's  Good  Morning, 
The 


Bertha  Remick Bertha  Remick  .    .    . 

Abbie  Farwell  Brown Bohemian  Folk  Song 

Virginia  Baker J.  B.  T.  Weckerlin     . 

George  Reiter  Brill    ........    Mary  Turner  Salter  . 

Alice  CD.  Riley Old  English  Song  .    . 

Maud  Wilder  Goodwin Folk   Song     .     .     .  . 

Mother  Goose Arthur  Whiting      .    . 

Old  English  Game     . 

Abbie  Farwell  Brown Adolf  Weidig  .    .    .    . 

Horatio  Parker  .    .    . 


Charles  Myall W.  R.  Cowles      .    . 

M.  Louise  Baum Russian  Folk  Song 


182 
243 
215 
264 
232 
277 
142 
193 
235 
281 

157 

228 


103 
45 

124 
83 

135 

12 

87 

138 


74 


Saint  Valentine's  Day  .  . 
♦Scissors  Grinder,  The  .  . 
*See,  Saw,  Sacradown     .    . 

Shoemakers'  Dance  .  .  . 
*Sing  a  Song  of  Sixpence    . 

Skating  Song       

Skipping  Rope,  The       .    . 

Sleep,  Little  Treasure   .    . 

Snail,  The 

Snowflakes       

*Soap  Bubbles 

♦Soldier  Boys 

Song  of  the  Wind,  The  . 
♦Song     Sparrow's      Toilet, 

The 

♦Song  Without  Words,  A  . 
♦Squirrel  in  the  Snow,  The . 
♦Strange  Lands 

Street  Music 

♦Summer  Song 

♦Surprise,  A      

♦Swallows,  The 

♦Swing  Song 


William  Shakespeare Old  English  Song  . 

Bertha  Remick Bertha  Remick  .    . 

Mother  Goose Arthur  W'hiting 

Danish  Folk  Dance 

Mother  Goose Arthur  Whiting 

Anna  M.  Pratt Bohemian  Folk  Song 

Florence  C.  Fox Bohemian  Folk  Song 

Lithuanian  Folk  Song 

Nellie  Poorman Domingo  Mas  y  Serracant 

Margaret  Aliona  Dole Russian  Folk  Song     . 

Mabel  L.  Harris Irene  R.  Brickner 

May  Morgan       Osbourne  McConathy 

Nina  B.  Hartford Nina  B.  Hartford  .    . 

H.  H.  Bennett Horatio  Parker  . 

Wilhelmina  Seegmiller       Robert  Just     .    . 

Kate  Forman      Jessie  L.  Gaynor 

Laurence  Alma-Tadema W.  Otto  Miessner 

Nellie  Poorman      Folk   Song     .     . 

Laura  E.  Richards W.  R.  Cowles 

Harriet  Fairchild  Blodgett       ....  Friedrich  Hegar^ 

Alice  CD.  Riley W.  Otto  Miessner 

Nina  B.  Hartford Nina  B.  Hartford 


249 
174 
261 
121 
164 
240 
204 
213 
222 
212 
238 
201 
163 

197 
231 
269 
259 
226 
258 
200 
205 
153 


114 
121 


98 
27 
42 
61 
41 
97 
22 


19 

80 

129 

120 

70 

119 

24 

29 


Tantoli Swedish  Folk  Dance      . 

♦Teddy  Bear Virginia  Baker G.  A.  Grant-Schaefer    . 

♦Telephone  Message,  A  .     .   George  Reiter  Brill Horatio  Parker  .    .    .    . 

Thanksgiving  Day     .    .    .   Jean  Bassett French  Folk  Song  .    .    . 

♦This  Morning Clinton  Scollard Marshall  Bartholomew 

Three  Little  Heads    .    .    .    May  Gillington       Annie  E.  Armstrong 

♦Thunder,  The Minnie  Leona  Upton Marshall  Bartholomew 

♦Twinkling  Fireflies     .    .    .   Anna  M.  Pratt Alfred  G.  Wathall      .    . 


125 
246 
136 

284 
246 
150 

233 
192 


109 


141 
110 


84 
11 


♦Umbrella  Man,  The  .    . 
♦Upon  a  Morning  Sunny 


Bertha  Remick Bertha  Remick  .    .    .    , 

Clinton  Scollard Marshall  Bartholomew . 


170 
202 


25 


Valentine  Song Florence  C.  Fox 


English  Folk  Song 


216         46 


*Wah-wah-tay-see   ....   Henry  W.  Longfellow Alfred  G.  Wathall 

Water  Sprite,  The , Swedish  Folk  Dance 


267       127 
122 


990  INDEX  OF  SONGS 

\  „  i  tor  or  Source  Composer  or  Source 

Title  \rthur  Whiting      •    • 

•Wee  Willie  Winkie    .    .    ■  W- Miller    ..-.^  .    ;;;;;;  George  W.  Chadwick 

♦What  [1  •    •    :,  •   Wuhelmina  beegmuier  .  English  Folk  Song     . 

When  I  Was  a  Schoolgirl     ■    •    ■    ;   '„i*  I   '    '  ...    .  W.  Otto  Miessner      . 

♦When  Mother  Sings      .    .   Mwgaret  Thurston   '    '    '        ....  Marshall  Bartholomew 

♦Whippourwill       9^^™^.  '''....  George  B.  Nevin    .    . 

♦Wild  Geese,  The  .   May  Morgan      .    .       •    • Old  English  Song  .    . 

Will  you  Come  with  Me  .    Alice  C.D.KW  ■    ■    •    • Harvey  B.  Gaul     .    . 

♦Windflower,  The    ..■■    Laura E.. EUc  "gf—  .    .    .    .  Margaret  Peddle  Bodd 

Windy  Nights ''"'uLr       ,^  .    .    .    .  Mildred  J.  Hill   .    .    . 

IwrnSSeJ    •.   '.   '.   "•   '■  Sa^Frf/te^     •    •    •  Mrs.  Crosby  Adams 
♦Composed  for  the  Progressive  Music  Series. 


T.M. 

Bk.  I 

Page 

Page 

272 

131 

282 

139 

128 

129 

196 

16 

144 

217 

4* 

173 

156 

167 

274 

133 

<p 


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